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* HOLABCTIC EEGION. 139 HOLBEIN. who proposed 'Triarctic' as the new designation. For this A. Newton suggested the substitution of "Holarctic," which Heilprin at once adopted. More recently Gadow has used "Periarctic' as a synon'm, on the ground that it is more precise. Its faunal characteristics are those sketched in the first paragraph, with the omission of such forms as are exclusively Ethiopian (Africa, south of the Sahara) or Oriental (the Asiatic coast and islands south of the Himalayan watershed). The faunal agreement between North America and the northern part of the Old World is greater than any differences. There are few families not represented in both, and the distinctive ani- mals are mainly local genera or species, while a great many apparently identical forms occur on both continents, having a circumpolar dis- tribution due either to their powers of travel or to ancient land connections. Consult: Heilprin, Geographical and Geological Distribution of Ani- mals (New York, 1887) ; Newton. Dictionary of Birds (New York, 1890); and the authorities referred to under Distbibtttiox of Animals. See also NE.iBCTic Region; P.leabctic Regioi?. HOLBACH, dl'hac, PAtx Henbi Thtby d', Baron (1723-89). A French philosopher of the eighteenth century, and one of the Encyclo- paedists. (See Enctclop£die.) He was born of wealthy parents, at Hcidelsheim, in the Palatinate, in 1723. At an early age he went to Paris, where he continued to reside during the remainder of his life. As Holbach was re- markable for his agreeable social qualities, and kept a good table, tlie most eminent thinkers and writers of the day, such as Condorcet, Diderot, Duclos, Helvetius, Raynal, Rousseau, Buffon, etc., •ner* in the habit of assembling at his house. The ■witty Abbt' rialiani called Holbach the maitre d'hotel of philosophy. Here speculation, it is said, was carried to such daring lengths that Buffon, D'Alembert, and Rousseau were com- pelled to withdraw from the circle. Holbach was the zealous champion of naturalism, and contended not only against Christianity, but against all positive religion. His principal work, the Systewe de la nature (published anonymously in 1770), has been called the "Bible of Naturalism." In this work the author en- deavors to expound the principles of morality upon a sensualistic, materialistic, deterministic, egoistic, and atheistic basis. For him God is only an ideal being, created by kings and priests. The work is in no sense original, but gives voice to the materialism of the French philo- sophes of the eighteenth century, which is no- where more openly advocated than in the writings of Holbach. He was a man of good heart, and, in spite of his theory, of most unselfish benevolence. When the ./esuits fell into disgrace during the reign of Louis XV., Holbach, though he hated their system and had written against them in the days of their prosperity, made his house an asylum for his old foes wlien the clouds gathered around them. Many anonymous works besides the Systcme have l)een attributed to Holbach. Con- sult: Avezac-Lavigne. Diderot et la socirtr du haron d'Holbaeh (Paris, 1878) : Morlcy, "Three Works of the Eighteenth Century, T. Holbach's System of Nature." in Fortnightly Reiieic (Lon- don, 1877) : id.. Diderot and the Encyclopccdists (London, 1878; 2d ed. 1886). Vol,. X.— 10. HOLBEIN, h6l'bin, Hans, the Elder (c. UGO- 1524). A noted German painter, whose reputa- tion was for a long time overshadowed by that of his celebrated sou, Hans the Younger, to whom most) of the elder master's finest productions were formerly attributed. But little is known of his life. He was born at Augsburg, the son of the tanner Michael Holbein, and resided there at in- tervals for many years, alternately i)rosj)erous and in want, first mentioned in the rate-books of the city in 1494, He became a citizen of Ulm in 1499, and two years later visited Frankfort. After 1510 he lived at a short distance from Augsburg, and in 1517 wandered off to paint an altarpiece at Isenheim, in Alsace, where he died. The name of his master is not known : that he worked for some time in the studio of Martin Sehongauer at Colmar is a mere surmise suggested by a certain resemblance of style, especially in the types of his heads. L'ndoubtedly Holbein formed his style on the models of the early Flemish school, and subsequently modified it by yielding to local tra- dition and Italian Influences. In his early pic- tures slender figures, mild and regular features, staidness of attitude, and a clear transparency of tone unrelieved by depth of shadow, are the prevailing characteristics. To this class belong the "Virgin and Child, with Two Angels." in Sankt Moritz Chapel. Nuremberg, and a "Virgin ana Child Enthroned, with Angels," in the Lan- dauer Briiderhaus in that city. Of a similar stamp are four altar panels (1493), represent- ing ".Joachim's Sacrifice." "Birth and Presenta- tion of Mary," and "Presentation of Christ," in the Cathedra] of Augsburg. Somewhat less marked is the Flemish origin of the master's manner in a series of ".Scenes from the Passion" (1499), and the altarpiece (1499) with the "Basilica of Santa ilaria Maggiore" in the cen- tre, "Coronation of the Virgin" above it. the "Nativity" and "Martyrdom of Saint Dorothea" in the wings, both in the gallery- at Augsburg. To the year 1499 belongs also the "Death of the Virgin" in the Basel JIuseum. In Frankfort he painted for the Dominicans a composite altar- piece ( 1501 ), comprising the "Last Supper." "Entry of Christ Into .Terusalem." "Expulsion of the Jews from the Temple," etc.. and ".Seven Scenes from the Passion," now all in the Stiidel Institute at Frankfort. Of the same jieriod are the "Crucifixion," "Descent from the Cross," and "Entombment." also "Sixteen Scenes from the Life of Man'." all parts of a large altarpiece (1.502) in the Old Pinakothek at Munich : a "Transfiguration" (1502) and "Christ Crowned with Thorns." both in the Augsburg Gallery. A marked progress in the master's manner is to be noticed in the "Life of Saint Paul" (1.504), in its more ideal conception, correct drawing, and delicate execution, and of traditional in- terest as containing the portraits of the artist and his two sons, Ambrosius and Hans. The in- fluence of the Italian Renaissance is still more apparent in the greater expressiveness and beauty of coloring displayed in the "Saint Catharine Altar" (1512). "this and the pre- ceding also in the Augsburg Gallery: but his maturest work is the "Martvrdom of Saint Sebastian" (1515-16). in the" Pinakothek at Munich, a composition full of dramatic power, far transcending any of his previo)is efforts. His last important work was probably the "Fountain of Life" (1519), in the royal palace at Lisbon.