to become editor of Fun, the comic paper, which became very popular under his direction. In 1867 he first issued Tom Hood's Comic Annual. In 1861 had appeared The Daughters of King Daker, and other Poems, after which he published in conjunction with his sister, Frances Freeling Broderip, a number of amusing books for children. His serious novels, of which Captain Masters's Children (1865) is the best, were not so successful. Hood drew with considerable facility, among his illustrations being those of several of his father's comic verses. In private life his geniality and sincere friendliness secured him the affection and esteem of a wide circle of acquaintance. He died on the 20th of November 1874.

A memoir by his sister, F. F. Broderip, is prefixed to the edition of his poems published in 1877.

HOOD OF AVALON, ARTHUR WILLIAM ACLAND HOOD, BARON (1824-1901), English admiral, born on the 14th of July 1824, was the younger son of Sir Alexander Hood of St Andries, Somerset, 2nd baronet, and grandson of Captain Alexander Hood, R.N., who, when in command of the "Mars," fell in action with the French 74-gun ship "Hercule," 21st of April 1798. At the age of twelve Hood entered the navy, and whilst still a boy saw active service on the north coast of Spain, and afterwards on the coast of Syria. After passing through the established course of gunnery on board the "Excellent" in 1844-1845, he went out to the Cape of Good Hope as gunnery mate of the "President," the flagship of Rear-Admiral Dacres, by whom, on the 9th of January 1846, he was promoted to be lieutenant. As gunnery lieutenant he continued in the "President" till 1849; and in the following year he was appointed to the "Arethusa " frigate, then commissioned for the Mediterranean by Captain Symonds, afterwards the well-known admiral of the fleet. The outbreak of the Russian war made the commission a very long one; and on the 27th of November 1854 Hood was promoted to be commander in recognition of his service with the naval brigade before Sebastopol. In 1855 he married Fanny Henrietta, daughter of Sir C. F. Maclean. In 1856 he commissioned the " Acorn" brig for the China station, and arrived in time to take part in the destruction of the junks in Fatshan creek on the 1st of June 1857, and in the capture of Canton in the following December, for which, in February 1858, he received a post-captain's commission. From 1862 to 1866 he commanded the "Pylades" on the North American station, and was then appointed to the command of the "Excellent" and the government of the Royal Naval College at Portsmouth. This was essentially a gunnery appointment, and on the expiration of three years Hood was made Director of Naval Ordnance. He was thoroughly acquainted with the routine work of the office and the established armament of the navy, but he had not the power of adapting himself to the changes which were being called for, and still less of initiating them; so that during his period of office the armament of the ships remained sadly behind the general advance. In June 1874 he was appointed to the command of the "Monarch" in the Channel Fleet, from which he was relieved in March 1876 by his promotion to flag rank. From 1877 to 1879 he was a junior lord of the Admiralty, and from 1880 to 1882 he commanded the Channel Fleet, becoming vice-admiral on 23rd July 1880. In June 1885 he was appointed first sea lord of the Admiralty. The intense conservatism of his character, however, and his antagonistic attitude towards every change, regardless of whether it was necessary or not, had much to do with the alarming state of the navy towards 1889. In that year, on attaining the age of sixty-five, he was placed on the retired list and resigned his post at the Admiralty. After two years of continued ill-health, he died on the 15th of November 1901, and was buried at Butleigh on the 23rd. He had been promoted to the rank of admiral on the 18th of January 1886; was made K.C.B. in December 1885; G.C.B. in September 1889; and in February 1892 was raised to the peerage as Lord Hood of Avalon, but on his death the title became extinct. (J. K. L.)

HOOD, a covering for the head. The word is in O. Eng. hod, cognate with Dutch hoed and Ger. Hut, hat, both masculine;

"hood" and "hat" are distantly related; they may be connected with the feminine hoed or Hut, meaning charge, care, Eng. "heed." Some form of hood as a loose covering easily drawn on or off the head has formed a natural part of outdoor costume both for men and women at all times and in all quarters of the globe where climatic conditions called for it. In the middle ages and later both men and women are found wearing it, but with men it tended to be superseded by the hat before it became merely an occasional and additional head-covering in time of bad weather or in particularly rigorous climates. For illustrations and examples of the hood as worn by men and women in medieval and later times see the article COSTUME; for the hood or cowl as part of the dress of a religious see Cowl, and as forming a distinctive mark of degree in academic costume see ROBES. The word is applied to many objects resembling a hood in function or shape, such as a folding cover for a carriage to protect the occupants from rain or wind, the belled covering for the head of a hawk trained for falconry, the endmost planks in a ship's bottom at bow or stern, and, in botany and zoology, certain parts of a flower or of the neck of an animal which in arrangement of structure or of colour recall this article of dress. In architecture a "hood-mould" is a projecting moulding carried outside the arch of a door or window; it is weathered underneath, and when continued horizontally is better known as a dripstone. The ends of the hood-mould are generally stopped on a corbel, plain or carved with heads in European churches, but in those of central Syria terminating in scrolls. Although in its origin the object of the projecting and weathered hoodmould was to protect the face of the wall below from rain, it gives more importance to, and emphasizes, the arch-moulds, so that it is often employed decoratively inside churches. The suffix "-hood," like the cognate "-head," was originally a substantive meaning rank, status or quality, and was constantly used in combination with other substantives; cf. in O. Eng. cild-hod, childhood; later it ceased to be used separately and became a mere suffx denoting condition added to adjectives; cf. "falsehood," as well as to substantives.

HOOFT, PIETER CORNELISSEN (1581-1647), Dutch poet and historian, was born at Amsterdam on the 16th of March 1581. His father was one of the leading citizens of Holland, both in politics and in the patronage of letters, and for some time burgomaster of Amsterdam. As early as 1598 the young man was made a member of the chamber of rhetoric In Liefde bloeiende, and produced before that body his tragedy of Achilles and Polyxena, not printed until 1614. In June 1598 he left Holland and proceeded to Paris, where on the 10th of April 1599 he saw the body of Gabrielle d'Estrées lying in state. He went a few months later to Venice, Florence and Rome, and in 1600 to Naples. During his Italian sojourn he made a deep and fruitful study of the best literature of Italy. In July 1600 he sent home to the In Liefde bloeiende a very fine letter in verse, expressing his aspirations for the development of Dutch poetry. He returned through Germany, and after an absence of three years and a half found himself in Amsterdam again on the 8th of May 1601. In 1602 he brought out his second tragedy, Theseus and Ariadne, printed at Amsterdam in 1614. In 1605 he completed his beautiful pastoral drama Granida, not published until 1615. He studied law and history at Leiden from 1606 to 1609, and in June of the latter year received from Prince Maurice of Orange the appointment of steward of Muiden, bailiff of Gooiland, and lord of Weesp, a joint office of great emolument. He occupied himself with repairing and adorning the decayed castle of Muiden, which was his residence during the remainder of his life. There, he entertained the poet Vondel, the scholar Barlaeus, Constantin Huygens, Vossius, Laurens Reael and others. Hooft had been a suitor for the hand of Anna Roemer Visscher, and after the death of Roemer Visscher both the sisters visited Muiden. Anna's sympathies were in time diverted to the school of Jacob Cats, but Marie Tesselschade maintained close ties with Hooft, who revised her translation of Tasso. In August 1610 he married Christina van Erp, an 1 Kaspar van Baerle (1584-1648), professor of rhetoric at Amsterdam, and famous as a Latin poet.

1

accomplished lady who died in 1623, and four years later he married Eleonora Hellemans. In 1612 Hooft produced his national tragedy of Geeraerdt van Velzen (pr. 1613), a story of the reign of Count Floris V. In 1614 was performed at Coster's academy Hooft's comedy of Ware-nar, an adaptation of the Aulularia of Plautus, first printed in 1617. In 1616 he wrote another tragedy, Baeto, or the Origin of the Dutch, not printed until 1626. It was in 1618 that he abandoned poetry for history, and in 1626 he published the first of his great prose works, the History of Henry the Great (Henry IV. of France). His next production was his Miseries of the Princes of the House of Medici (Amsterdam, 1638). In 1642 he published at Amsterdam a folio comprising the first twenty books of his Dutch History, embracing the period from 1555 to 1585, a magnificent performance, to the perfecting of which he had given fifteen years of labour. The seven concluding books were published posthumously in 1654. His idea of history was gained from Tacitus, whose works he translated. Hooft died on a visit to the Hague, whither he had gone to attend the funeral of Prince Frederick Henry, on the 21st of May 1647, and was buried in the New Church at Amsterdam.

Hooft is one of the most brilliant figures that adorn Dutch literature at its best period. He was the first writer to introduce a modern and European tone into belles lettres, and the first to refresh the sources of native thought from the springs of antique and Renaissance poetry. His lyrics and his pastoral of Granida are strongly marked by the influence of Tasso and Sannazaro; his later tragedies belong more exactly to the familiar tone of his native country. But high as Hooft stands among the Dutch poets, he stands higher-he holds perhaps the highest place among writers of Dutch prose. His historical style has won the warmest eulogy from so temperate a critic as Motley, and his letters are the most charming ever published in the Dutch language. After Vondel, he may on the whole be considered the most considerable author that Holland has produced.

Hooft's poetical and dramatic works were collected in two volumes (1871, 1875) by P. Leendertz. His letters were edited by B. Huydecoper (Leiden, 1738) and by van Vloten (Leiden, 4 vols., 1855). The best original account of Hooft is given by G. Brandt in his Leven van P. C. Hooft (1677), and his funeral address (1647), edited together by J. C. Matthes (Groningen, 1874). There is an account of the Muiden circle in Edmund Gosse's Literatures of Northern Europe. Many editions exist of his prose works.

HOOGSTRATEN, SAMUEL DIRKSZ VAN, Dutch painter, was born, it is said, in 1627 at the Hague, and died at Dort on the 19th of October 1678. This artist, who was first a pupil of his father, lived at the Hague and at Dort till about 1640, when on the death of Dirk Hoogstraten he changed his residence to Amsterdam and entered the school of Rembrandt. A short time afterwards he started as a master and painter of portraits, set out on a round of travels which took him (1651) to Vienna, Rome and London, and finally retired to Dort, where he married in 1656, and held an appointment as "provost of the mint." Hoogstraten's works are scarce; but a sufficient number of them has been preserved to show that he strove to imitate different styles at different times. In a portrait dated 1645 in the Lichtenstein collection at Vienna he imitates Rembrandt; and he continues in this vein as late as 1653, when he produced that wonderful figure of a Jew looking out of a casement, which is one of the most characteristic examples of his manner in the Belvedere at Vienna. A view of the Vienna Hofburg, dated 1652, in the same gallery displays his skill as a painter of architecture, whilst in a piece at the Hague representing a Lady Reading a Letter as she crosses a Courtyard, or a Lady Consulting a Doctor, in the Van der Hoop Museum at Amsterdam, he imitates de Hooch. One of his latest works is a portrait of Mathys van den Brouck, dated 1670, in the gallery of Amsterdam. The scarcity of Hoogstraten's pictures is probably due to his versatility. Besides directing a mint, he devoted some time to literary labours, wrote a book on the theory of painting (1678) and composed sonnets and a tragedy. We are indebted to him for some of the familiar sayings of Rembrandt. He

was an etcher too, and some of his plates are still preserved. His portrait, engraved by himself at the age of fifty, still exists. HOOK, JAMES CLARKE (1819-1907), English painter, was born in London on the 21st of November 1819. His father, James Hook, a Northumbrian by descent, Judge Arbitrator of Sierra Leone, married the second daughter of Dr Adam Clarke, the commentator on the Bible, who gave to the painter his second name. Young Hook's first taste of the sea was on board the Berwick smacks which took him on his way to Wooler. He drew with rare facility, and determined to become an artist; and accordingly, without any supervision, he set to work for more than a year in the sculpture galleries of the British Museum. In 1836 he was admitted a student of the Royal Academy, where he worked for three years, and elsewhere learned a good deal of the scientific technique of painting from a nephew of Opie. His first picture, called "The Hard Task," was exhibited in 1837, and represented a girl helping her sister with a lesson. Unusual facility in portraiture and a desire to earn his own living took the student into Ireland to paint likenesses of the Waterford family and others; here he produced landscapes of the Vale of Avoca, and much developed his taste for pastoral art; later, he was similarly engaged in Kent and Somersetshire. In 1842 his second exhibited work was a portrait of "Master J. Finch Smith": in this year he gained silver medals at the Royal Academy, and in 1843 he was one of the competitors in the exhibition of cartoons in Westminster Hall, with a 10 by 7 ft. design of "Satan in Paradise." In 1844 the Academy contained a picture of a kind with which his name was long associated, an illustration of the Decameron, called "Pamphilius relating his Story," a meadow scene in bright light, with sumptuous ladies, richly clad, reclining on the grass. The British Institution, 1844 and 1845, set forth two of Hook's idylls, subjects taken from Shakespeare and Burns, which, with the above, showed him to be cultivating those veins of romantic sentiment and the picturesque which were then in vogue, but in a characteristically fresh and vigorous manner. "The Song of Olden Times" (Royal Academy, 1845) marked the artist's future path distinctly in most technical respects. It was in this year Hook won the Academy gold medal for an oil picture of "The Finding the Body of Harold." The travelling studentship in painting was awarded to him for " Rizpah watching the Dead Sons of Saul" in 1846; and he went for three years to Italy, having married Miss Rosalie Burton before he left England. Hook passed through Paris, worked diligently for some time in the Louvre, traversed Switzerland, and, though he stayed only part of three years in Italy, gained much from studies of Titian, Tintoret, Carpaccio, Mansueti and other Venetians. Their influence thenceforth dominated the coloration of his pictures, and enabled him to apply the principles to which they had attained to the representation (as Bonington before him had done) of romantic subjects and to those English themes of the land and sea with which the name of the artist is inseparably associated. "A Dream of Ancient Venice" (R.A., 1848)the first fruit of these Italian studies-" Bayard of Brescia " (R.A., 1849), "Venice" (B.I., 1849) and other works assured for Hook the Associateship of the Royal Academy in 1851. Soon afterwards an incomparable series of English subjects was begun, in many pastorals and fine brilliant idylls of the sea and rocks. "A Rest by the Wayside" and "A Few Minutes to Wait before Twelve o'clock" proved his title to appear, in 1854, as a new and original painter. After these came "A Signal on the Horizon" (1857), “A Widow's Son going to Sea," "The Ship-boy's Letter," "Children's Children are the Crown of Old Men," "A Coast-boy gathering Eggs," a scene at Lundy; the perfect "Luff, Boy!" (1859), about which Ruskin broke into a dithyrambic chant, "The Brook," ""Stand Clear!" "O Well for the Fisherman's Boy!" (1860), "Leaving Cornwall for the Whitby Fishing," "Sea Urchins," and a score more as fine as these. The artist was elected a full Academician on the 6th of March 1860, in the place of James Ward. He died on the 14th of April 1907.

See A. H. Palmer, "J. C. Hook, R.A.." Portfolio (1888); F. G. Stephens, "J. C. Hook, Royal Academician: His Life and Work," Art Annual (London, 1888); P. G. Hamerton, Elching and Etchers

(London, 1877).

HOOK, THEODORE EDWARD (1788-1841), English author, was born in London on the 22nd of September 1788. He spent a year at Harrow, and subsequently matriculated at Oxford, but he never actually resided at the university. His father, James Hook (1746-1827), the composer of numerous popular songs, took great delight in exhibiting the boy's extraordinary musical and metrical gifts, and the precocious Theodore became "the little pet lion of the green room." At the age of sixteen, in conjunction with his father, he scored a dramatic success with The Soldier's Return, a comic opera, and this he rapidly followed up with a series of over a dozen sparkling ventures, the instant popularity of which was hardly dependent on the inimitable acting of John Liston and Charles Mathews. But Hook gave himself up for some ten of the best years of his life to the pleasures of the town, winning a foremost place in the world of fashion by his matchless powers of improvisation and mimicry, and startling the public by the audacity of his practical jokes. His unique gift of improvising the words and the music of songs eventually charmed the prince Regent into a declaration that something must be done for Hook." The prince was as good as his word, and Hook, in spite of a total ignorance of accounts, was appointed accountant-general and treasurer of the Mauritius with a salary of £2000 a year. For five delightful years he was the life and soul of the island, but in 1817, a serious deficiency

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amount Hook was held responsible.

having been discovered in the treasury accounts, he was arrested and brought to England on a criminal charge. A sum of about £12,000 had been abstracted by a deputy official, and for this -During the tardy scrutiny of the audit board he lived obscurely and maintained himself by writing for magazines and newspapers. In 1820 he launched the newspaper John Bull, the champion of high Toryism and the virulent detractor of Queen Caroline. Witty, incisive criticism and pitiless invective secured it a large circulation, and from this source alone Hook derived, for the first year at least, an income of £2000. He was, however, arrested for the second time on account of his debt to the state, which he made no effort to defray. In a sponging-house, where he was confined for two years, he wrote the nine volumes of stories afterwards collected under the title of Sayings and Doings (1826-1829). In the remaining twenty-three years of his life he poured forth no fewer than thirty-eight volumes, besides numberless articles, squibs and sketches. His novels are not works of enduring interest, but they are saved from mediocrity by frequent passages of racy narrative and vivid portraiture. The best are Maxwell (1830), Love and Pride (1833), the autobiographic Gilbert Gurney (1836), Jack Brag (1837), Gurney Married (1838), and Peregrine Bunce (1842). Incessant work had already begun to tell on his health, when Hook returned to his old social habits, and a prolonged attempt to combine industry and dissipation resulted in the confession that he was "done up in purse, in mind and in body too at last." He died on the 24th of August 1841. His writings in great part are of a purely ephemeral character; and the greatest triumphs of the improvisatore may be said to have been writ in wine. Putting aside, however, his claim to literary greatness, Hook will be remembered as one of the most brilliant, genial and original figures of Georgian

times.

See the Rev. R. H. D. Barham's Life and Remains of Hook (3rd ed., 1877); and an article by J. G. Lockhart in the Quarterly Review (May 1843).

HOOK, WALTER FARQUHAR (1798-1875), English divine, nephew of the witty Theodore, was born in London on the 13th of March 1798. Educated at Tiverton and Winchester, he graduated at Oxford (Christ Church) in 1821, and after holding an incumbency in Coventry, 1829-1837, and in Leeds, 18371859, was nominated dean of Chichester by Lord Derby. He received the degree of D.D. in 1837. His friendship towards the Tractarians exposed him to considerable persecution, but his simple manly character and zealous devotion to parochial

work gained him the support of widely divergent classes. His stay in Leeds was marked by vigorous and far-reaching church extension, and his views on education were far in advance of Biography, containing the Lives of Ancient Fathers and Modern his time. Among his many writings are An Ecclesiastical Divines (8 vols., 1845-1852), A Church Dictionary, The Means of Rendering more Effectual the Education of the People, The Cross of Christ (1873), The Church and its Ordinances (sermons, 4 vols., 1876), and Lives of the Archbishops of Canter bury (12 vols., 1860-1876). He died on the 20th of October 1875. Stephens (2 vols., 1878). See Life and Letters of Dean Hook, by his son-in-law, W. R. W.

HOOKAH (the English spelling of the Persian and Hindustani huggu, an adaptation of the Arabic huggah, a vase or casket, and by transference a pipe for smoking, probably derived from the Arabic hugg, a hollow place), a pipe with a long flexible tube attached to a large bowl containing water, often scented, and resting upon a tripod or stand. The smoke of the tobacco is made to pass through the water in the bowl, and is thus cooled the same as that of the hookah; the word is derived from nargil, before reaching the smoker. The narghile of India is in principle an Indian name for the coco-nut tree, as when the narghile was first made the water was placed in a coco-nut. This receptacle is now often made of porcelain, glass or metal. In the hubble-bubble the pipe is so contrived that the water in the bowl makes a bubbling noise while the pipe is being smoked. This pipe is common in India, Egypt and the East generally.

philosopher, was born on the 18th of July 1635 at Freshwater, HOOKE, ROBERT (1635-1703), English experimental in the Isle of Wight, where his father, John Hooke, was minister of the parish. After working for a short time with Sir Peter Lely, he went to Westminster school; and in 1653 he entered After 1655 he was employed Christ Church, Oxford, as servitor. and patronized by the Hon. Robert Boyle, who turned his skill to account in the construction of his air-pump. On the 12th of November 1662 he was appointed curator of experiments to the Royal Society, of which he was elected a fellow in 1663, and filled the office during the remainder of his life. In 1664 Sir John Cutler instituted for his benefit a mechanical lectureship of £50 a year, and in the following year he was nominated professor of geometry in Gresham College, where he subsequently resided. After the Great Fire of 1666 he constructed a model for the rebuilding of the city, which was highly approved, although the design of Sir C. Wren was preferred. During the progress of the works, however, he acted as surveyor, and accumulated in that lucrative employment a sum of several thousand pounds, discovered after his death in an old iron chest, which had evidently lain unopened for above thirty years. He fulfilled the duties of secretary to the Royal Society during five years after the death of Henry Oldenburg in 1677, publishing in 16811682 the papers read before that body under the title of Philosophical Collections. A protracted controversy with Johann Hevelius, in which Hooke urged the advantages of telescopic over plain sights, brought him little but discredit. His reasons were good; but his offensive style of argument rendered them unpalatable and himself unpopular. Many circumstances in 1687, of his niece, Mrs Grace Hooke, who had lived with him concurred to embitter the latter years of his life. The death, for many years, caused him deep affliction; a law-suit with Sir John Cutler about his salary (decided, however, in his favour in 1696) occasioned him prolonged anxiety; and the repeated anticipation of his discoveries inspired him with a morbid jealousy. Marks of public respect were not indeed wanting to him. A degree of M.D. was conferred on him at Doctors' Commons in 1691, and the Royal Society made him, in 1696, a grant to enable him to complete his philosophical inventions. While engaged on this task he died, worn out with disease, on the 3rd of March 1703 in London, and was buried in St Helen's Church, Bishopsgate Street.

In personal appearance Hooke made but a sorry show. His

figure was crooked, his limbs shrunken; his hair hung in dishevelled locks over his haggard countenance. His temper was irritable, his habits penurious and solitary. He was, however, blameless in morals and reverent in religion. His scientific achievements would probably have been more striking if they had been less varied. He originated much, but perfected little. His optical investigations led him to adopt in an imperfect form the undulatory theory of light, to anticipate the doctrine of interference, and to observe, independently of though subsequently to F. M. Grimaldi (1618-1663), the phenomenon of diffraction. He was the first to state clearly that the motions of the heavenly bodies must be regarded as a mechanical problem, and he approached in a remarkable manner the discovery of universal gravitation. He invented the wheel barometer, discussed the application of barometrical indications to meteorological forecasting, suggested a system of optical telegraphy, anticipated E.F.F. Chladni's experiment of strewing a vibrating bell with flour, investigated the nature of sound and the function of the air in respiration and combustion, and originated the idea of using the pendulum as a measure of gravity. He is credited with the invention of the anchor escapement for clocks, and also with the application of spiral springs to the balances of watches, together with the explanation of their action by the principle Ut tensio sic vis (1676).

His principal writings are Micrographia (1664); Lectiones Cutlerianae (1674-1679); and Posthumous Works, containing a sketch of his "Philosophical Algebra," published by R. Waller in 1705. ⚫ HOOKER, JOSEPH (1814-1879), American general, was born in Hadley, Massachusetts, on the 13th of November 1814. He was educated at the military academy at West Point (18331837), and on graduating entered the 1st U. S. Artillery. In the war with Mexico (1846-48) he served as a staff officer, and rose by successive brevets for meritorious services to the rank of lieutenant-colonel. In 1853 he left the service and bought a large farm near Sonoma, Cal., which he managed successfully till 1858, when he was made superintendent of military roads in Oregon. Upon the opening of hostilities in the Civil War of 1861-65, he sacrificed his fine estate and offered his sword to the Federal Government. He was commissioned brigadier-general of volunteers on the 17th of May 1861 and major-general on the 5th of May 1862. The engagement of Williamsburg (May 5th) brought him and his subordinate Hancock into prominence, and Hooker received the soubriquet of "Fighting Joe." He was engaged at the battle of Fair Oaks, and did splendid service to the Union army during the "Seven Days." In the campaign of Northern Virginia, under General Pope (August 1862), he led his division with fiery energy at Bristoe Station, Manassas and Chantilly. In the Maryland campaign (September) he was at the head of the I. corps, Army of the Potomac, forced the defile of South Mountain and opened the way for the advance of the army. The I. corps opened the great battle of the Antietam, and sustained a sanguinary fight with the Confederates under Stonewall Jackson. Hooker himself was severely wounded. He was commissioned brigadier-general in the United States army on the 20th of September 1862, and in the battle of Fredericksburg (q.v.), under Burnside, he commanded the centre grand division (III. and V. corps). He had❘ protested against the useless slaughter of his men on that disastrous field, and when Burnside resigned the command Hooker succeeded him. The new leader effected a much-needed re-organization in the army, which had fought many battles without success. In this task, as in subordinate commands in battle, Hooker was excelled by few. But his grave defects as a commander-in-chief were soon to be obvious. By a wellplanned and well-executed flanking movement, he placed himself on the enemy's flank, but at the decisive moment he checked the advance of his troops. Lee turned upon him, Jackson surprised and destroyed a whole army corps, and the battle of Chancellorsville (see WILDERNESS), in which Hooker was himself disabled, ended in a retreat to the old position. Yet Hooker had not entirely forfeited the confidence of his men, to whom he was still "Fighting Joe." The second advance of Lee into

,,

| Union territory, which led to the battle of Gettysburg, was strenuously resisted by Hooker, who would have inflicted a heavy blow on Lee's scattered forces had he not been condemned to inaction by orders from Washington. Even then Hooker followed the Confederates a day only behind them, until, finding himself distrusted and forbidden to control the movements of troops within the sphere of operations, he resigned the command on the eve of the battle (June 28, 1863). Faults of temper and an excessive sense of responsibility made his continued occupation of the command impossible, but when after a signal defeat Rosecrans was besieged in Chattanooga, and Grant with all the forces of the West was hurried to the rescue, two corps of the Army of the Potomac were sent over by rail, and Hooker, who was at least one of the finest fighting generals of the service, went with them in command. He fought and won the "Battle above the Clouds on Lookout Mountain which cleared the way for the crowning victory of the army of the Cumberland on Missionary Ridge (see CHATTANOOGA). And in command of the same corps (consolidated as the XX. corps) he took part in all the battles and combats of the Atlanta campaign of 1864. When General McPherson was killed before Atlanta, the command of Grant's old Army of the Tennessee fell vacant. Hooker, who, though only a corps commander, was senior to the other army commanders, Thomas and Schofield, was normally entitled to receive it, but General Sherman feared to commit a whole army to the guidance of a man of Hooker's peculiar temperament, and the place was given to Howard. Hooker thereupon left the army. He was commissioned brevetmajor-general in the United States army on the 13th of March 1865, and retired from active service with the full rank of majorgeneral on the 15th of October 1868, in consequence of a paralytic seizure. The last years of his life were passed in the neighbourhood of New York. He died at Garden City, Long Island, on the 31st of October 1879.

HOOKER, SIR JOSEPH DALTON (1817- ), English botanist and traveller, second son of the famous botanist Sir W.J.Hooker, was born on the 30th of June 1817, at Halesworth, Suffolk. He was educated at Glasgow University, and almost immediately after taking, his M.D. degree there in 1839 joined Sir James Ross's Antarctic expedition, receiving a commission as assistant-surgeon on the "Erebus." The botanical fruits of the three years he thus spent in the Southern Seas were the Flora Antarctica, Flora Novae Zelandiae and Flora Tasmanica, which he published on his return. His next expedition was to the northern frontiers of India (1847-1851), and the expenses in this case also were partially defrayed by the government. The party had its full share of adventure. Hooker and his friend Dr Campbell were detained in prison for some time by the raja of Sikkim, but nevertheless they were able to bring back important results, both geographical and botanical. Their survey of hitherto unexplored regions was published by the Calcutta Trigonometrical Survey Office, and their botanical observations formed the basis of elaborate works on the rhododendrons of the Sikkim Himalaya and on the flora of India. Among other journeys undertaken by Hooker may be mentioned those to Palestine (1860), Morocco (1871), and the United States (1877), all yielding valuable scientific information. In the midst of all this travelling in foreign countries he quickly built up for himself a high scientific reputation at home. In 1855 he was appointed assistant-director of Kew Gardens, and in 1865 he succeeded his father as full director, holding the post for twenty years. At the early age of thirty he was elected a fellow of the Royal Society, and in 1873 he was chosen its president; he received three of its medals-a Royal in 1854, the Copley in 1887 and the Darwin in 1892. He acted as president of the British Association at its Norwich meeting of 1868, when his address was remarkable for its championship of Darwinian theories. Of Darwin, indeed, he was an early friend and supporter: it was he who, with Lyell, first induced Darwin to make his views public, and the author of The Origin of Species has recorded his indebtedness to Hooker's wide knowledge and balanced judgment. Sir Joseph Hooker is the author of numerous