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Rh  duty the college deputed two of its members to attend all meetings of the states-general, to watch the proceedings and report at once any proposals which they held to be contrary to the interests or to infringe upon the rights of the province of Holland. The institution of the College of Deputed Councillors might thus be described as a vigilance committee of the states in perpetual session. The existence of the college, with its many weighty and important functions, must never be lost sight of by students who desire to have a clear understanding of the remarkable part played by the province of Holland in the history of the United Netherlands.

HOLLAND, a city of Ottawa county, Michigan, U.S.A., on Macatawa Bay (formerly called Black Lake), near Lake Michigan, and 25 m. W.S.W. of Grand Rapids. Pop. (1890) 3945; (1900) 7790, of whom a large portion were of Dutch descent; (1904) 8966; (1910) 10,490. It is served by the Père Marquette Railroad, by steamboat lines to Chicago and other lake ports, and by electric lines connecting with Grand Rapids, Saugatuck, and the neighbouring summer resorts. On Macatawa Bay are Ottawa Beach, Macatawa Park, Jenison Park, Central Park, Castle Park and Waukezoo. In the city itself are Hope College (co-educational; founded in 1851 and incorporated as a college in 1866), an institution of the (Dutch) Reformed Church in America; and the Western Theological Seminary (1869; suspended 1877–1884) of the same denomination. Holland is a grain and fruit shipping centre, and among its manufactures are furniture, leather, grist mill products, iron, beer, pickles, shoes, beet sugar, gelatine, biscuit (Holland rusk), electric and steam launches, and pianos. In 1908 seven weekly, one daily, and two monthly papers (four denominational) were published at Holland, five of them in Dutch. The municipality owns its water-works and electric-lighting plant. Holland was founded in 1847 by Dutch settlers, under the leadership of the Rev. A. C. Van Raalte, and was chartered as a city in 1867. In 1871 much of it was destroyed by a forest fire.

 HOLLAND, a cloth so called from the country where it was first made. It was originally a fine plain linen fabric of a brownish colour—unbleached flax. Several varieties are now made: hollands, pale hollands and fine hollands. They are used for aprons, blinds, shirts, blouses and dresses.

 HOLLAR, WENZEL or WENCESLAUS [] (1607–1677), Bohemian etcher, was born at Prague on the 13th of July 1607, and died in London, being buried at St Margaret’s church, Westminster, on the 28th of March 1677. His family was ruined by the capture of Prague in the Thirty Years’ War, and young Hollar, who had been destined for the law, determined to become an artist. The earliest of his works that have come down to us are dated 1625 and 1626; they are small plates, and one of them is a copy of a Virgin and Child by Dürer, whose influence upon Hollar’s work was always great. In 1627 he was at Frankfort, working under Matthew Merian, an etcher and engraver; thence he passed to Strassburg, and thence, in 1633, to Cologne. It was there that he attracted the notice of the famous amateur Thomas, earl of Arundel, then on an embassy to the imperial court; and with him Hollar travelled to Vienna and Prague, and finally came in 1637 to England, destined to be his home for many years. Though he lived in the household of Lord Arundel, he seems to have worked not exclusively for him, but to have begun that slavery to the publishers which was afterwards the normal condition of his life. In his first year in England he made for Stent, the printseller, the magnificent View of Greenwich, nearly a yard long, and received thirty shillings for the plate,—perhaps a twentieth part of what would now be paid for a single good impression. Afterwards we hear of his fixing the price of his work at fourpence an hour, and measuring his time by a sandglass. The Civil War had its effect on his fortunes, but none on his industry. Lord Arundel left England in 1642, and Hollar passed into the service of the duke of York, taking with him a wife and two children. With other royalist artists, notably Inigo Jones and Faithorne, he stood the long and eventful siege of Basing House; and as we have some hundred plates from his hand dated during the years 1643 and 1644 he must have turned his enforced leisure to good purpose. Taken prisoner, he escaped or was released, and joined Lord Arundel at Antwerp, and there he remained eight years, the prime of his working life, when he produced his finest plates of every kind, his noblest views, his miraculous “muffs” and “shells,” and the superb portrait of the duke of York. In 1652 he returned to London, and lived for a time with Faithorne the engraver near Temple Bar. During the following years were published many books which he illustrated:—Ogilby’s Virgil and Homer, Stapylton’s Juvenal, and Dugdale’s Warwickshire, St Paul’s and Monasticon (part i.). The booksellers continued to impose on the simple-minded foreigner, pretending to decline his work that he might still further reduce the wretched price he charged them. Nor did the Restoration improve his position. The court did nothing for him, and in the great plague he lost his young son, who, we are told, might have rivalled his father as an artist. After the great fire he produced some of his famous “Views of London”; and it may have been the success of these plates which induced the king to send him, in 1668, to Tangier, to draw the town and forts. During his return to England occurred the desperate and successful engagement fought by his ship the “Mary Rose,” under Captain Kempthorne, against seven Algerine men-of-war,—a brilliant affair which Hollar etched for Ogilby’s Africa. He lived eight years after his return, still working for the booksellers, and retaining to the end his wonderful powers; witness the large plate of Edinburgh (dated 1670), one of the greatest of his works. He died in extreme poverty, his last recorded words being a request to the bailiffs that they would not carry away the bed on which he was dying.

Hollar’s variety was boundless; his plates number some 2740, and include views, portraits, ships, religious subjects, heraldic subjects, landscapes, and still life in a hundred different forms. No one that ever lived has been able to represent fur, or shells, or a butterfly’s wing as he has done. His architectural drawings, such as those of Antwerp and Strassburg cathedrals, and his views of towns, are mathematically exact, but they are pictures as well. He could reproduce the decorative works of other artists quite faultlessly, as in the famous chalice after Mantegna’s drawing. His Theatrum mulierum and similar collections reproduce for us with literal truth the outward aspects of the people of his day; and his portraits, a branch of art in which he has been unfairly disparaged, are of extraordinary refinement and power.

Almost complete collections of Hollar’s works exist in the British Museum and in the library at Windsor Castle. Two admirable catalogues of his plates have been made, one in 1745 (2nd ed. 1759) by George Vertue, and one in 1853 by Parthey. The latter, published at Berlin, is a model of German thoroughness and accuracy.

HOLLES, DENZIL HOLLES, (1599–1680), English statesman and writer, second son of John Holles, 1st earl of Clare (c. 1564–1637), by Anne, daughter of Sir Thomas Stanhope, was born on the 31st of October 1599. The favourite son of his father and endowed with great natural abilities, Denzil Holles grew up under advantageous circumstances. Destined to become later one of the most formidable antagonists of King Charles’s arbitrary government, he was in early youth that prince’s playmate and intimate companion. The earl of Clare was, however, no friend to the Stuart administration, being especially hostile to the duke of Buckingham; and on the accession of Charles to the throne the king’s offers of favour were rejected. In 1624 Holles was returned to parliament for Mitchell in Cornwall, and in 1628 for Dorchester. He had from the first a keen sense of the humiliations which attended the foreign policy of the Stuart kings. Writing to Strafford, his brother-in-law, on the 29th of November 1627, he severely censures Buckingham’s conduct of the expedition to the Isle of Rhé; “since England was England,” he declared, “it received not so dishonourable a blow”; and he joined in the demand for Buckingham’s impeachment in 1628. To these discontents were now added the abuses arising from the king’s arbitrary administration. On the 2nd of March 1629, when Sir John Finch, the speaker, refused to put Sir John Eliot’s Protestations and was about to adjourn the House by the king’s