in a pulverized state being sometimes mixed with them. When required for use, the powder is made into a pasty mass with hot water, and is then spread upon the part to be dyed, where it is generally allowed to remain for one night. According to Lady Callcott, the flowers are often used by the Eastern women to adorn their hair. The distilled water from the flowers is used as a perfume.
HENNEBONT, a town of western France, in the department
of Morbihan, 6m. N.E. of Lorient by road. Pop. (1906) 7250.
It is situated about 10 m. from the mouth of the Blavet, which
divides it into two parts—the Ville Close, the medieval military
town, and the Ville Neuve on the left bank and the Vieille Ville
on the right bank. The Ville Close, surrounded by ramparts
and entered by a massive gateway flanked by machicolated
towers, consists of narrow quiet streets bordered by houses of the
16th and 17th centuries. The Ville Neuve, which lies nearer the
river, developed during the 17th century and later than the
Ville Close, while the Vieille Ville is older than either. The only
building of architectural importance is the church of Notre-Dame
de Paradis (16th century) preceded by a tower with an ornamented
stone spire. There are scanty remains of the old fortress.
Hennebont has a small but busy river-port accessible to vessels
of 200 to 300 tons. An important foundry in the environs of
the town employs 1400 work-people in the manufacture of tin-plate
for sardine boxes and other purposes. Boat-building,
tanning, distilling and the manufacture of earthenware, white
lead and chemical manures are also carried on. Granite is worked
in the neighbourhood. Hennebont is famed for the resistance
which it made, under the widow of Jean de Montfort, when
besieged in 1342 by the armies of Philip of Valois and Charles of
Blois during the War of the Succession in Brittany (see Brittany).
HENNEQUIN, PHILIPPE AUGUSTE (1763–1833), French
painter, was a pupil of David. He was born at Lyons in 1763,
distinguished himself early by winning the “Grand Prix,” and
left France for Italy. The disturbances at Rome, during the
course of the Revolution, obliged him to return to Paris, where
he executed the Federation of the 14th of July, and he was
at work on a large design commissioned for the town-hall of
Lyons, when in July 1794 he was accused before the revolutionary
tribunal and thrown into prison. Hennequin escaped, only to be
anew accused and imprisoned in Paris, and after running great
danger of death, seems to have devoted himself thenceforth
wholly to his profession. At Paris he finished the picture ordered
for the municipality of Lyons, and in 1801 produced his chief
work, “Orestes pursued by the Furies” (Louvre, engraved by
Landon, Annales du Musée, vol. i. p. 105). He was one of the
four painters who competed when in 1802 Gros carried off the
official prize for a picture of the Battle of Nazareth, and in 1808
Napoleon himself ordered Hennequin to illustrate a series of
scenes from his German campaigns, and commanded that his
picture of the “Death of General Salomon” should be engraved.
After 1815 Hennequin retired to Liége, and there, aided by
subventions from the Government, carried out a large historical
picture of the “Death of the Three Hundred in defence of Liége”—a
sketch of which he himself engraved. In 1824 Hennequin
settled at Tournay, and became director of the academy; he
exhibited various works at Lille in the following year, and
continued to produce actively up to the day of his death in
May 1833.
HENNER, JEAN JACQUES (1829–1905), French painter, was
born on the 5th of March 1829 at Dornach (Alsace). At first
a pupil of Drolling and of Picot, he entered the École des Beaux-Arts
in 1848, and took the Prix de Rome with a painting of
“Adam and Eve finding the Body of Abel” (1858). At Rome
he was guided by Flandrin, and, among other works, painted
four pictures for the gallery at Colmar. He first exhibited at
the Salon in 1863 a “Bather Asleep,” and subsequently contributed
“Chaste Susanna” (1865); “Byblis turned into a Spring”
(1867); “The Magdalene” (1878); “Portrait of M. Hayem”
(1878); “Christ Entombed” (1879); “Saint Jerome” (1881);
“Herodias” (1887); “A Study” (1891); “Christ in His
Shroud,” and a “Portrait of Carolus-Duran” (1896); a “Portrait
of Mlle Fouquier” (1897); “The Levite of the Tribe of Ephraim”
(1898), for which a first-class medal was awarded to him; and
“The Dream” (1900). Among other professional distinctions
Henner also took a Grand Prix for painting at the Paris International
Exhibition of 1900. He was made Knight of the Legion
of Honour in 1873, Officer in 1878 and Commander in 1889.
In 1889 he succeeded Cabanel in the Institut de France.
See E. Bricon, Psychologie d’art (Paris, 1900); C. Phillips, Art Journal (1888); F. Wedmore, Magazine of Art (1888).
HENRIETTA MARIA (1609–1666), queen of Charles I. of
England, born on the 25th of November 1609, was the daughter
of Henry IV. of France. When the first serious overtures for
her hand were made on behalf of Charles, prince of Wales,
in the spring of 1624, she was little more than fourteen years of
age. Her brother, Louis XIII., only consented to the marriage
on the condition that the English Roman Catholics were relieved
from the operation of the penal laws. When therefore she set
out for her new home in June 1625, she had already pledged
the husband to whom she had been married by proxy on the
1st of May to a course of action which was certain to bring
unpopularity on him as well as upon herself.
That husband was now king of England. The early years of the married life of Charles I. were most unhappy. He soon found an excuse for breaking his promise to relieve the English Catholics. His young wife was deeply offended by treatment which she naturally regarded as unhandsome. The favourite Buckingham stirred the flames of his master’s discontent. Charles in vain strove to reduce her to tame submission. After the assassination of Buckingham in 1628 the barrier between the married pair was broken down, and the bond of affection which from that moment united them was never loosened. The children of the marriage were Charles II. (b. 1630), Mary, princess of Orange (b. 1631), James II (b. 1633), Elizabeth (b. 1636) Henry, duke of Gloucester (b. 1640), and Henrietta, duchess of Orleans (b. 1644).
For some years Henrietta Maria’s chief interests lay in her young family, and in the amusements of a gay and brilliant court. She loved to be present at dramatic entertainments, and her participation in the private rehearsals of the Shepherd’s Pastoral, written by her favourite Walter Montague, probably drew down upon her the savage attack of Prynne. With political matters she hardly meddled as yet. Even her co-religionists found little aid from her till the summer of 1637. She had then recently opened a diplomatic communication with the see of Rome. She appointed an agent to reside at Rome, and a papal agent, a Scotsman named George Conn, accredited to her, was soon engaged in effecting conversions amongst the English gentry and nobility. Henrietta Maria was well pleased to become a patroness of so holy a work, especially as she was not asked to take any personal trouble in the matter. Protestant England took alarm at the proceedings of a queen who associated herself so closely with the doings of “the grim wolf with privy paw.”
When the Scottish troubles broke out, she raised money from her fellow-Catholics to support the king’s army on the borders in 1639. During the session of the Short Parliament in the spring of 1640, the queen urged the king to oppose himself to the House of Commons in defence of the Catholics. When the Long Parliament met, the Catholics were believed to be the authors and agents of every arbitrary scheme which was supposed to have entered into the plans of Strafford or Laud. Before the Long Parliament had sat for two months, the queen was urging upon the pope the duty of lending money to enable her to restore her husband’s authority. She threw herself heart and soul into the schemes for rescuing Strafford and coercing the parliament. The army plot, the scheme for using Scotland against England, and the attempt upon the five members were the fruits of her political activity.
In the next year the queen effected her passage to the Continent. In February 1643 she landed at Burlington Quay, placed herself at the head of a force of loyalists, and marched through England to join the king near Oxford. After little more than a year’s residence there, on the 3rd of April 1644, she left her husband,
