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HEI Having completed his studies at Leyden, he was settled there as a preacher in 1627, and distinguished himself by his pulpit gifts. In his fiftieth year he was appointed to one of the theological chairs of that university, and was soon involved in disputes with his colleagues on the respective merits of Aristotle and Des Cartes. The Dutch theologians of the orthodox school were all strict Aristotelians. Heidanus preferred the method of Des Cartes as more favourable to free inquiry. In 1656 the States interfered with an edict forbidding the mixture of theology and philosophy. But the Cartesians still increased, and in 1675 Spanheim and Hulsius came forth with a condemnation of "twenty-one godless propositions of the Cocceian and Cartesian doctrine." Heidanus was then eighty years old, but none the less opposed himself manfully to the attempt which was made by the university curators and the magistrates of Leyden to impose this manifesto upon him. In 1676 appeared his "Considerations on some matters which have lately fallen out in the University of Leyden." This piece produced a great sensation throughout the country, and cost the author his place in the university. But he continued to preach till his death, which took place in 1678. His funeral oration was pronounced by Wittich, the successor of Cocceius.—P. L.  * HEIDECK,, Bavarian general and painter, was born in 1788, at Sarrealbe in Lorraine. His father was a Swiss officer in the French service, named Heidegger, a name long retained by the son, and by which he is still frequently designated. Young Heidegger entered the military school of Munich in 1801, and there, besides his military studies, paid special attention to the arts of design. In 1805 he was nominated lieutenant in the Bavarian army, and served in the campaigns of 1805-10 against Austria and Prussia. In 1810 he joined as a volunteer the French army in Spain. On his return to Bavaria in 1813 he was created major; and later accompanied the crown-prince to England. His reputation as a scientific officer being established, he was in 1816 sent to Salzburg as one of the commission to define the boundaries between Austria and Bavaria; and whilst there occupied his leisure hours in sketching the wild scenery of that picturesque neighbourhood. Here he painted his first picture in oil; but so zealously did he follow his new pursuit that, according to his German biographers, he had in the next eight years, without neglecting his military duties, completed nearly seventy oil-paintings. When the attention of all Europe was fixed on the gallant struggle of the Greeks for independence, Heideck shared in the general enthusiasm, and obtained the consent of the king of Bavaria, to join the Greek army, in which he was appointed to a command, and carried through with great éclat several important affairs. In 1828 he was created governor of Nauplia and Argos. But when the success of the Greek cause was assured, Heideck returned to Bavaria. Having received the rank of colonel, and spent two years in Italy, he was made quartermaster-general of the Bavarian army; but his time was spent in assisting his congenially-minded sovereign (Ludwig) in his various artistic enterprises. Besides painting in oil-colours Heideck directed his attention to fresco, and assisted in decorating several public buildings in Munich. When Prince Otho was elected king of Greece in 1832, Heideck was made one of three regents appointed to govern the kingdom during Otho's minority. As a general of the Greek army he immediately took measures for placing the defences of the country in a more satisfactory condition. He did not, however, secure the goodwill of the country, and as soon as the king was declared of age, Heideck returned to Bavaria. There he was raised to the grade of lieutenant-general, created Baron, and placed in the ministry of war. He has continued to give the benefit of his military knowledge to the successor of Ludwig, and holds the post of chamberlain to the king; but he has long led a life of dignified repose, indulging to the full his love of art. Von Heideck will be remembered for the part he has played in the affairs of modern Greece. By his countrymen, however, his artistic efforts are also regarded with great admiration; by foreigners they will be looked at rather as the productions of an enthusiastic amateur. Many of his pictures are in the royal collections.—J. T—e.  HEIDEGGER,, an eminent Swiss divine of the seventeenth century, was born 1st July, 1633, in the canton of Zurich, and studied in the universities of Zurich, Marburg, and Heidelberg. From 1659 to 1665 he occupied a theological chair at Steinfurt, and in 1667 he succeeded John Henry Hottinger in Zurich. When the divines of Switzerland published in 1680 the famous Consensus Helveticus, Heidegger took a leading and influential part in the preparation of that document; and his most recent biographer, A. Schweizer of Zurich, has been able to show that but for his influence and great efforts the Consensus would have been drawn in much more severe terms than those actually employed. His writings were very numerous. To Maimburg's Historia Calvinismi he opposed a "Historia Papatus," which was translated into French and excited much attention; not to mention many other pieces on the Romish controversy. He was favourable to a union of the Lutheran and Reformed churches, to promote which he wrote in 1686 his "Manuductio in viam Concordiæ Protestantium Ecclesiastiæ." He published also several valuable biographical pieces on Hottinger, Hospinian, and J. Lud. Fabricius. But the most important of his works was the "Corpus theologiæ Christianæ," published in two folios after his death. His correspondence was immense, thirty volumes of which are still preserved in the city library of Zurich. He died in 1698.—P. L.  HEIDEGGER,, who figures in the Tatler as "the Swiss count," came to seek his fortune in England about the year 1708. He obtained a commission in the guards; and although the ugliest man in London, he was well received in fashionable society. An opera which he produced, entitled "Thomyris," obtained great success. He became a celebrated conductor of operas and masquerades, was patronized by George II., and accumulated a considerable fortune. His good nature and his ill looks made him a constant butt of the wits and bucks about town. The duke of Montagu on one occasion made use of a waxen cast of his face, taken during sleep at a tavern supper, to tease him with the apparition of an alter ego at one of the royal concerts. When the real Heidegger ordered God save the King to be played, the false one interrupted by commanding Over the Water to Charlie. The musicians being doubtless in the secret obeyed the latter order to the intense amusement of the king, who was of course informed beforehand of the trick intended. A scene of absurd altercation and vindication ensued in the royal box, and Heidegger's rage and distress became so painful that the king ordered the duke to take off his mask. He died in 1749 at the age of ninety.—R. H.  HEINE,, an eminent German poet, was born at Dusseldorf, January 1, 1800 (wherefore he wittily styled himself "the first man of this century"), of respectable Jewish parents. At sixteen he began to learn business at Hamburg, where the memory of his uncle, Solomon Heine, the celebrated banker (1767-1844) is still greatly venerated. Heinrich, however, soon found trade repugnant to his aspiring genius, and successively proceeded to Bonn, Göttingen, and Berlin, where he devoted himself to the study of law. At Göttingen he took his degree as doctor of laws, and in 1825 embraced christianity. He embarked in literature while quite a young man, the first collection of his poems being published as early as 1822. In the following year he appeared before the public with two tragedies, "Almansor" and "Ratcliff," both of them signal failures. He then travelled in Italy, and it was the narrative of this journey (the "Reisebilder") which first drew the attention of the public upon him. Written in an easy, off-hand, but graceful style, it sparkled with wit and humour, such as suited the taste of the day. A still greater hold of the German mind he took by his "Book of Songs" (Buch der Lieder), 1827, which undeniably signalizes an epoch in the history of German poetry. It would indeed be absurd, in the face of such a living well of poesy, not to acknowledge that Heine was one of the most gifted poets. There are songs of his in which he has clad with imperishable beauty, the highest ecstacy, and the deepest sorrow that ever moved a human breast. But the germs of that cynic wit and impious satire which afterwards burst out into brazen shamefulness are already discernible even in the "Book of Songs" and the "Reisebilder." Though without any steady principles in either morals or politics, yet Heine took pleasure in playing the part of champion for liberalism. Attracted by the French revolution of 1830, he took up his final residence at Paris. Here he not only led for years a shameful life, but even openly boasted of its enormities. His writings pleased, however, the young and the thoughtless, and Heine soon saw himself followed by a band of imitators both in prose and verse, all proclaiming the "emancipation of the flesh." Being justly considered as the head of this Young Germany, his past and future 