Page:Encyclopædia Britannica, Ninth Edition, v. 12.djvu/341

Rh s of the. After suffering dreadfully from of  and  they entered, having recrossed the ed , but it was not till   that they reached  on the boundary. Rather than encounter alone the horrors of a four s’ journey to they resolved to wait for eight s till the arrival of a an  on its return from. Under an intelligent they meanwhile studied the   and , and during three s of their stay they resided in the famous , which was reported to accommodate 4000 persons. Towards the end of they joined the returning, which comprised 2000 men and 3700 s. Crossing the s of , they passed the  of that , with its  of contemplative s, and, ascending with difficulty and hardship the tortuous -covered s of  and , they at last entered  on the 29th. Favourably received by the, they opened a little , and were in a fair way to establish an important , when the  interfered and had the two  conveyed back to , where they arrived in  of the. For nearly three Huc remained at, but , returning to , proceeded thence, to , and died there shortly afterwards. Huc returned to in shattered  in, visiting , , and  on his way, and, after a prolonged residence in , died 31st. His writings comprise, besides numerous and s in the Annales de la Propagation de la foi, the famous Souvenirs d’un Voyage dans la Tartarie, le Thibet, et la Chine pendant les années 1844–46 (2 vols.,, ; Eng. transl. by W.Hazlitt, , abbreviated by M.Jones, , ); its supplement, ed by the , entitled L’Empire Chinois (2 vols., , ; Eng. transl., , ); and an elaborate  , Le Christianisme en Chine, &c. (4 vols.,, –; Eng. transl., , –). These are written in a lucid, racy, picturesque style, which has secured for them an unusual degree of popularity. The narrative of one of the most remarkable feats of modern travel, the Souvenirs contain passages of so singular a character as in the absence of corroborative testimony to stir up a feeling of incredulity. That Huc was suspected unjustly has been amply proved by the later research of Bushnell, David, Prejevalski, Richthofen, and Colonel Montgomerie’s “Pundits.” But although his credibility has been firmly established, and although in his ic enterprise he gathered a vast amount of novel and curious information, the fact remains that Huc was by no means a practical, and that the record of his travels loses greatly in value from the want of precise data.

1em  HUCBALD (also called and ) was born in or about, if we may believe the statement of his biographers to the effect that he died in, aged 90. Of his life little is known; not even the place of his birth can be ascertained, but he was no doubt a Frenchman or a Belgian. It is certain that he studied at the convent of Amand in French Flanders, where his uncle Milo occupied an important position. Hucbald made rapid progress in the acquirement of various sciences and arts, including that of music; and at an early age composed a hymn in honour of Andrew, which met with such success as to excite the jealousy of his uncle. It is said that Hucbald in consequence was compelled to leave Amand, and started an independent school of music and other arts at Nevers. In, however, we find him at Germain d’Auxerre, bent upon completing his studies, and in he is back again at Amand as the successor in the headmastership of the convent school of his uncle, to whom he had been reconciled in the meantime. Between and  Hucbald went on several missions of reforming and reconstructing various schools of music, including that of Rheims, but in the  he returned to Amand, where he remained to the day of his death (June 25,, or, according to other chroniclers, June 20, ), and where his most important works on music were written. Of the character of these works and of the reforms and improvements advocated by them it is not easy to give a correct idea; not even their number is sufficiently certain, for some treatises have been attributed to Hucbald which are obviously not his, and others of which the authorship is at least doubtful. His largest and most authentic work is the Enchiridion Musicce, published with other writings of minor importance in the first volume of Gerber’s Scriptorcs erdesiasiici, and containing a complete system of musical science as well as instructions regarding notation. Hucbald as a musical theorist may be called a precursor of Guido d Arezzo, to whose hexachord system his tetrachorcl, that is, the use of four instead of seven letters, forms a kind of basis. His scales are founded on strictly Greek principles, and cannot be said to mark a decided step in advance; neither is his system of notation much superior to the earlier ones, although here also ho seems in a manner to fore shadow Guido’s use of the lines and spaces of the staff from which the modern method took its rise. Of great importance is the 13th chapter of the Enchiridion, which treats of the diaphony or organum, in other words, of sing ing in parts. Amongst other prescriptions it is curious to find the rule which recommends the use of parallel fifths and fourths, so strictly prohibited by later theorists, while, on the other hand, consecutive thirds, particularly euphonious to the modern ear, are excluded by Hucbald.

1em  HUCHTENBURG. Two brothers of this name prac tised the art of painting in the second half of the 17th century. Both were natives of Haarlem. Jacob, the elder, of whom very little is known, studied under Berghem, and went early to Italy, where he died young about 1667. His pictures are probably confounded with those of his brother. In Copenhagen, where alone they are catalogued, they illustrate the style of a Dutchman who transfers Berghem’s cattle and flocks to Italian landscapes and market-places. John van Huchtenburg (1646-1733), born at Haarlem it is said in 1646, was first taught by Thomas Wyk, and afterwards induced to visit the chief cities of Italy, where, penetrating as far as Rome, he met and dwelt with his brother Jacob. After the death of the latter he wandered homewards, taking Paris on his way, and served under Van der Meulen, then employed in illustrating for Louis XIV. the campaign of 1667-68 in the Low Countries. In 1670 he settled at Haarlem, where hs married, practised, and kept a dealer’s shop. His style had now merged into an imitation of Philip Wouvermans and Van der Meulen, which could not fail to produce pretty pictures of hunts and robber camps, the faculty of painting horses and men in action and varied dress being the chief point of attrac tion. Later on Huchtenburg ventured on cavalry skirmishes and engagements of regular troops generally, and these were admired by Prince Eugene and William III., who gave the painter sittings, and commissioned him to throw upon canvas the chief incidents of the battles they 