HOF (25), a town of Bavaria, on the Saale, 40 m.  NE. of Baireuth; has flourishing textile factories, breweries, and iron-works; is associated with the early struggles of Jean Paul Richter.

HOFER, ANDREAS, Tyrolese patriot; was leader of the Tyrolese against the Bavarians and the French, and the emancipator thrice over of his country, but was eventually betrayed by his enemies into the hands of the French, condemned by court-martial at Mantua, and shot; his family were indemnified afterwards by the Emperor of Austria, and his son ennobled (1767-1810).

HOFFMANN, AUGUST HEINRICH, poet and philologist, born at Fallersleben; studied literature and philology under the influence of the Grimms, and in 1835 was appointed professor of the German Language at Breslau, a post he forfeited seven years later by publishing “Lays” of somewhat radical tendencies; he led an unsettled life till 1860, when he became librarian to the Duke of Ratibor; his writings include “German Social Songs of the 16th and 17th Centuries,” “German Philology,” an “Autobiography” in six vols., lyrics, &c. (1798-1874).

HOFFMANN, ERNST THEODORE WILHELM, a celebrated German writer, whose versatility displayed itself in numerous tales, sketches, art-criticisms, &c., all bearing the impress of a strong, if wayward, intellect; born at Koenigsberg, was trained to the law, and entered the State service; his position at Warsaw was lost to him on the entry of the French troops in 1806, and for some years he supported himself by musical criticism in Leipzig, and as Director of a Dresden Opera Company; in 1816 he was again in government service at Berlin, where he continued till his death; his writings are strongly characteristic of the romanticism of his time, while he himself was a witty, restless leader of Bohemian life (1776-1822).

HOGARTH, WILLIAM, a famous English painter, caricaturist, and engraver, born in London; served his time as a silversmith’s apprentice; studied painting, and began to support himself by engraving and etching; unsuccessful in his attempts at portrait-painting, he at length found his true vocation in depicting the follies and vices of his age; “A Harlot’s Progress,” a series of six pictures engraved by himself, appeared in 1731, and was soon followed by others of a like nature, including “A Rake’s Progress,” “Strolling Actresses dressing in a Barn,” “Marriage a la Mode,” “Idleness and Industry”; he also produced some indifferent historical paintings; in 1757 he was appointed sergeant-painter to the king; in his own department Hogarth has never been equalled, and in the opinion of Sir Joshua Reynolds, never will be; the deep moral purpose of his best pictures, made known throughout the country by abundant prints, must have helped not a little to reform the manners of his time (1697-1764).