KAUFFMANN, [MARIA ANNA] ANGELICA(1741-1807), the once popular artist and Royal Academician, was born at Coire in the Grisons, on the 30th of October 1741. Her father, John Josef Kauffmann, was a poor man and mediocre painter, but apparently very successful in teaching his precocious daughter. She rapidly acquired several languages, read incessantly, and showed marked talents as a musician. Her greatest progress, however, was in painting; and in her twelfth year she had become a notability, with bishops and nobles for her sitters. In 1754 her father took her to Milan. Later visits to Italy of long duration appear to have succeeded this excursion; in 1763 she visited Rome, returning to it again in 1764. From Rome she passed to Bologna and Venice, being everywhere fêted and caressed, as much for her talents as for her personal charms. Writing from Rome in August 1764 to his friend Franke, Winckelmann refers to her exceptional popularity. She was then painting his picture, a half-length, of which she also made an etching. She spoke Italian as well as German, he says; and she also expressed herself with facility in French and English—one result of the last-named accomplishment being that she painted all the English visitors to the Eternal City. “She may be styled beautiful,” he adds, “and in singing may vie with our best virtuosi.” While at Venice, she was induced by Lady Wentworth, the wife of the English ambassador to accompany her to London, where she appeared in 1766. One of her first works was a portrait of Garrick, exhibited in the year of her arrival at “Mr Moreing’s great room in Maiden Lane.” The rank of Lady Wentworth opened society to her, and she was everywhere well received, the royal family especially showing her great favour.
Her firmest friend, however, was Sir Joshua Reynolds. In his pocket-book her name as “Miss Angelica” or “Miss Angel” appears frequently, and in 1766 he painted her, a compliment which she returned by her “Portrait of Sir Joshua Reynolds,” aetat. 46. Another instance of her intimacy with Reynolds is to be found in the variation of Guercino’s “Et in Arcadia ego” produced by her at this date, a subject which Reynolds repeated a few years later in his portrait of Mrs Bouverie and Mrs Crewe. When, about November 1767, she was entrapped into a clandestine marriage with an adventurer who passed for a Swedish count (the Count de Horn) Reynolds befriended her, and it was doubtless owing to his good offices that her name is found among the signatories to the famous petition to the king for the establishment of the Royal Academy. In its first catalogue of 1769 she appears with “R.A.” after her name (an honour which she sharedwith another lady and compatriot, Mary Moser); and she contributed the “Interview of Hector and Andromache,” and three other classical compositions. From this time until 1782 she was an annual exhibitor, sending sometimes as many as seven pictures, generally classic or allegorical subjects. One of the most notable of her performances was the “Leonardo expiring in the Arms of Francis the First,” which belongs to the year 1778. In 1773 she was appointed by the Academy with others to decorate St Paul’s, and it was she who, with Biagio Rebecca, painted the Academy’s old lecture room at Somerset House. It is probable that her popularity declined a little in consequence of her unfortunate marriage; but in 1781, after her first husband’s death (she had been long separated from him), she married Antonio Zucchi (1728-1795), a Venetian artist then resident in England. Shortly afterwards she retired to Rome, where she lived for twenty-five years with much of her old prestige. In 1782 she lost her father; and in 1795—the year in which she painted the picture of Lady Hamilton—her husband. She continued at intervals to contribute to the Academy, her last exhibit being in 1797. After this she produced little, and in November 1807 she died, being honoured by a splendid funeral under the direction of Canova. The entire Academy of St Luke, with numerous ecclesiastics and virtuosi, followed her to her tomb in S. Andrea delle Fratte, and, as at the burial of Raphael, two of her best pictures were carried in procession.
The works of Angelica Kauffmann have not retained their reputation. She had a certain gift of grace, and considerable skill in composition. But her drawing is weak and faulty; her figures lack variety and expression; and her men are masculine women. Her colouring, however, is fairly enough defined by Waagen’s term “cheerful.” Rooms decorated by her brush are still to be seen in various quarters. At Hampton Court is a portrait of the duchess of Brunswick; in the National Portrait Gallery, a portrait of herself. There are other pictures by her at Paris, at Dresden, in the Hermitage at St Petersburg, and in the Alte Pinakothek at Munich. The Munich example is another portrait of herself; and there is a third in the Uffizi at Florence. A few of her works in private collections have been exhibited among the “Old Masters” at Burlington House. But she is perhaps best known by the numerous engravings from her designs by Schiavonetti, Bartolozzi and others. Those by Bartolozzi especially still find considerable favour with collectors. Her life was written in 1810 by Giovanni de Rossi. It has also been used as the basis of a romance by Léon de Wailly, 1838; and it prompted the charming novel contributed by Mrs Richmond Ritchie to theCornhill Magazinein 1875 under the title of “Miss Angel.”
The works of Angelica Kauffmann have not retained their reputation. She had a certain gift of grace, and considerable skill in composition. But her drawing is weak and faulty; her figures lack variety and expression; and her men are masculine women. Her colouring, however, is fairly enough defined by Waagen’s term “cheerful.” Rooms decorated by her brush are still to be seen in various quarters. At Hampton Court is a portrait of the duchess of Brunswick; in the National Portrait Gallery, a portrait of herself. There are other pictures by her at Paris, at Dresden, in the Hermitage at St Petersburg, and in the Alte Pinakothek at Munich. The Munich example is another portrait of herself; and there is a third in the Uffizi at Florence. A few of her works in private collections have been exhibited among the “Old Masters” at Burlington House. But she is perhaps best known by the numerous engravings from her designs by Schiavonetti, Bartolozzi and others. Those by Bartolozzi especially still find considerable favour with collectors. Her life was written in 1810 by Giovanni de Rossi. It has also been used as the basis of a romance by Léon de Wailly, 1838; and it prompted the charming novel contributed by Mrs Richmond Ritchie to theCornhill Magazinein 1875 under the title of “Miss Angel.”
(A. D.)
KAUFMANN, CONSTANTINE PETROVICH(1818-1882), Russian general, was born at Maidani on the 3rd of March 1818. He entered the engineer branch in 1838, served in the campaigns in the Caucasus, rose to be colonel, and commanded the sappers and miners at the siege of Kars in 1855. On the capitulation of Kars he was deputed to settle the terms with General Sir W. Fenwick Williams. In 1861 he became director-general of engineers at the War Office, assisting General Milutin in the reorganization of the army. Promoted lieut.-general in 1864, he was nominated aide-de-camp-general and governor of the military conscription of Vilna. In 1867 he became governor of Turkestan, and held the post until his death, making himself a name in the expansion of the empire in central Asia. He accomplished a successful campaign in 1868 against Bokhara, capturing Samarkand and gradually subjugating the whole country. In 1873 he attacked Khiva, took the capital, and forced the khan to become a vassal of Russia. Then followed in 1875 the campaign against Khokand, in which Kaufmann defeated the khan, Nasr-ed-din. Khokand north of the Syrdaria was annexed to Russia, and the independence of the rest of the country became merely nominal. This rapid absorption of the khanates brought Russia into close proximity to Afghanistan, and the reception of Kaufmann’s emissaries by the Amir was a main cause of the British war with Afghanistan in 1878. Although Kaufmann was unable to induce his government to support all his ambitious schemes of further conquest, he sent Skobeleff in 1880 and 1881 against the Akhal Tekkés, and was arranging to add Merv to his annexations when he died suddenly at Tashkend on the 15th of May 1882.
KAUKAUNA,a city of Outagamie county, Wisconsin, U.S.A., on the Fox river 7 m. N.E. of Appleton and about 100 m. N. of Milwaukee. Pop. (1900), 5115, of whom 1044 were foreign-born (1905) 4991; (1910) 4717. Kaukauna is served by the Chicago & North-Western railway (which has car-shops here), by inter-urban electric railway lines connecting with other cities in the Fox river, valley, and by river steamboats. It has a Carnegie library, a hospital and manufactories of pulp, paper, lumber and woodenware. Dams on the Fox River furnish a good water-power. The city owns its waterworks. A small settlement of Indian traders was made here as early as 1820; in 1830 a Presbyterian mission was established, but the growth of the place was slow, and the city was not chartered until 1885.
KAULBACH, WILHELM VON(1805-1874), German painter, was born in Westphalia on the 15th of October 1805. His father, who was poor, combined painting with the goldsmith’s trade, but means were found to place Wilhelm, a youth of seventeen, in the art academy of Düsseldorf, then becoming renowned under the directorship of Peter von Cornelius. Young Kaulbach contended against hardships, even hunger. But his courage never failed; and, uniting genius with industry, he was ere long foremost among the young national party which sought to revive the arts of Germany. The ambitious work by which Louis I. sought to transform Munich into a German Athens afforded the young painter an appropriate sphere. Cornelius had been commissioned to execute the enormous frescoes in the Glyptothek, and his custom was in the winters, with the aid of Kaulbach and others, to complete the cartoons at Düsseldorf, and in the summers, accompanied by his best scholars, to carry out the designs in colour on the museum walls in Munich. But in 1824 Cornelius became director of the Bavarian academy. Kaulbach, not yet twenty, followed, took up his permanent residence in Munich, laboured hard on the public works, executed independent commissions, and in 1849, when Cornelius left for Berlin, succeeded to the directorship of the academy, an office which he held till his death on the 7th of April 1874. His son Hermann (1846-1909) also became a distinguished painter.
Kaulbach matured, after the example of the masters of the Middle Ages, the practice of mural or monumental decoration; he once more conjoined painting with architecture, and displayed a creative fertility and readiness of resource scarcely found since the era of Raphael and Michelangelo. Early in the series of his multitudinous works came the famous Narrenhaus, the appalling memories of a certain madhouse near Düsseldorf; the composition all the more deserves mention for points of contact with Hogarth. Somewhat to the same category belong the illustrations toReineke Fuchs. These, together with occasional figures or passages in complex pictorial dramas, show how dominant and irrepressible were the artist’s sense of satire and enjoyment of fun; character in its breadth and sharpness is depicted with keenest relish, and at times the sardonic smile bursts into the loudest laugh. Thus occasionally the grotesque degenerates into the vulgar, the grand into the ridiculous, as in the satire on “the Pigtail Age” in a fresco outside the New Pinakothek. Yet these exceptional extravagances came not of weakness but from excess of power. Kaulbach tried hard to become Grecian and Italian; but he never reached Phidias or Raphael; in short the blood of Dürer, Holbein and Martin Schongauer ran strong in his veins. The art products in Munich during the middle of the 19th century were of a quantity to preclude first-rate quality, and Kaulbach contracted a fatal facility in covering wall and canvas by the acre. He painted in the Hofgarten, the Odeon, the Palace and on the external walls of the New Pinakothek. His perspicuous and showy manner also gained him abundant occupation as a book illustrator: in the pages of the poets his fancy revelled; he was glad to take inspiration from Wieland, Goethe, even Klopstock; among his engraved designs are the Shakespeare gallery, the Goethe gallery and a folio edition of the Gospels. With regard to these examples of “the Munich school,” it was asserted that Kaulbach had been unfortunate alike in having found Cornelius for a master and King Louis for a patron, that he attempted “subjects far beyond him, believingthat his admiration for them was the same as inspiration”; and supplied the lack of real imagination by “a compound of intellect and fancy.”
Nevertheless in such compositions as the Destruction of Jerusalem and the Battle of the Huns Kaulbach shows creative imagination. As a dramatic poet he tells the story, depicts character, seizes on action and situation, and thus as it were takes the spectator by storm. The manner may be occasionally noisy and ranting, but the effect after its kind is tremendous. The cartoon, which, as usual in modern German art, is superior to the ultimate picture, was executed in the artist’s prime at the age of thirty. At this period, as here seen, the knowledge was little short of absolute; subtle is the sense of beauty; playful, delicate, firm the touch; the whole treatment artistic.
Ten or more years were devoted to what the Germans term a “cyclus”—a series of pictures depicting the Tower of Babel, the Age of Homer, the Destruction of Jerusalem, the Battle of the Huns, the Crusades and the Reformation. These major tableaux, severally 30 ft. long, and each comprising over one hundred figures above life-size, are surrounded by minor compositions making more than twenty in all. The idea is to congregate around the world’s historic dramas the prime agents of civilization; thus here are assembled allegoric figures of Architecture and other arts, of Science and other kingdoms of knowledge, together with lawgivers from the time of Moses, not forgetting Frederick the Great. The chosen situation for this imposing didactic and theatric display is the Treppenhaus or grand staircase in the new museum, Berlin; the surface is a granulated, absorbent wall, specially prepared; the technical method is that known as “water-glass,” or “liquid flint,” the infusion of silica securing permanence. The same medium was adopted in the later wall-pictures in the Houses of Parliament, Westminster.
The painter’s last period brings no new departure; his ultimate works stand conspicuous by exaggerations of early characteristics. The series of designs illustrative of Goethe, which had an immense success, were melodramatic and pandered to popular taste. The vast canvas, more than 30 ft. long, the Sea Fight at Salamis, painted for the Maximilianeum, Munich, evinces wonted imagination and facility in composition; the handling also retains its largeness and vigour; but in this astounding scenic uproar moderation and the simplicity of nature are thrown to the winds, and the whole atmosphere is hot and feverish.
Kaulbach’s was a beauty-loving art. He is not supreme as a colourist; he belongs in fact to a school that holds colour in subordination; but he laid, in common with the great masters, the sure foundation of his art in form and composition. Indeed, the science of composition has seldom if ever been so clearly understood or worked out with equal complexity and exactitude; the constituent lines, the relation of the parts to the whole, are brought into absolute agreement; in modern Germany painting and music have trodden parallel paths, and Kaulbach is musical in the melody and harmony of his compositions. His narrative too is lucid, and moves as a stately march or royal triumph; the sequence of the figures is unbroken; the arrangement of the groups accords with even literary form; the picture falls into incident, episode, dialogue, action, plot, as a drama. The style is eclectic; in the Age of Homer the types and the treatment are derived from Greek marbles and vases; then in the Tower of Babel the severity of the antique gives place to the suavity of the Italian renaissance; while in the Crusades the composition is let loose into modern romanticism, and so the manner descends into the midst of the 19th century. And yet this scholastically compounded art is so nicely adjusted and smoothly blended that it casts off all incongruity and becomes homogeneous as the issue of one mind. But a fickle public craved for change; and so the great master in later years waned in favour, and had to witness, not without inquietude, the rise of an opposing party of naturalism and realism.
Kaulbach’s was a beauty-loving art. He is not supreme as a colourist; he belongs in fact to a school that holds colour in subordination; but he laid, in common with the great masters, the sure foundation of his art in form and composition. Indeed, the science of composition has seldom if ever been so clearly understood or worked out with equal complexity and exactitude; the constituent lines, the relation of the parts to the whole, are brought into absolute agreement; in modern Germany painting and music have trodden parallel paths, and Kaulbach is musical in the melody and harmony of his compositions. His narrative too is lucid, and moves as a stately march or royal triumph; the sequence of the figures is unbroken; the arrangement of the groups accords with even literary form; the picture falls into incident, episode, dialogue, action, plot, as a drama. The style is eclectic; in the Age of Homer the types and the treatment are derived from Greek marbles and vases; then in the Tower of Babel the severity of the antique gives place to the suavity of the Italian renaissance; while in the Crusades the composition is let loose into modern romanticism, and so the manner descends into the midst of the 19th century. And yet this scholastically compounded art is so nicely adjusted and smoothly blended that it casts off all incongruity and becomes homogeneous as the issue of one mind. But a fickle public craved for change; and so the great master in later years waned in favour, and had to witness, not without inquietude, the rise of an opposing party of naturalism and realism.
(J. B. A.)
KAUNITZ-RIETBURG, WENZEL ANTON,Prince von(1711-1794), Austrian chancellor and diplomatist, was born at Vienna on the 2nd of February 1711. His father, Max Ulrich, was the third count of Kaunitz, and married an heiress, Maria Ernestine Franziska von Rietburg. The family was ancient, and was believed to have been of Slavonic origin in Moravia. Wenzel Anton, being a second son, was designed for the church, but on the death of his elder brother he was trained for the law and for diplomacy, at Vienna, Leipzig and Leiden, and by travel. His family had served the Habsburgs with some distinction, and Kaunitz had no difficulty in obtaining employment. In 1735 he was aReichshofrath. When the Emperor Charles VI. died in 1740, he is said to have hesitated before deciding to support Maria Theresa. If so, his hesitation did not last long, and left no trace on his loyalty. From 1742 to 1744 he was minister at Turin, and in the latter year was sent as minister with the Archduke Charles of Lorraine, the governor of Belgium. He was therefore an eye-witness of the campaigns in which Marshal Saxe overran Belgium. At this time he was extremely discouraged, and sought for his recall. But he had earned the approval of Maria Theresa, who sent him as representative of Austria to the peace congress of Aix-la-Chapelle in 1748. His tenacity and dexterity established his reputation as a diplomatist. He confirmed his hold on the regard and confidence of the empress by the line he took after the conclusion of the peace. In 1749 Maria Theresa appealed to all her counsellors for advice as to the policy Austria ought to pursue in view of the changed conditions produced by the rise of Prussia. The great majority of them, including her husband Francis I., were of opinion that the old alliance with the sea Powers, England and Holland, should be maintained. Kaunitz, either because he was really persuaded that the old policy must be given up, or because he saw that the dominating idea in the mind of Maria Theresa was the recovery of Silesia, gave it as his opinion that Frederick was now the “most wicked and dangerous enemy of Austria,” that it was hopeless to expect the support of Protestant nations against him, and that the only way of recovering Silesia was by an alliance with Russia and France. The empress eagerly accepted views which were already her own, and entrusted the adviser with the execution of his own plans. An ambassador to France from 1750 to 1752, and after 1753 as “house, court and state chancellor,” Kaunitz laboured successfully to bring about the alliance which led to the Seven Years’ War. It was considered a great feat of diplomacy, and established Kaunitz as the recognized master of the art. His triumph was won in spite of personal defects and absurdities which would have ruined most men. Kaunitz had manias rarely found in company with absolute sanity. He would not hear of death, nor approach a sick man. He refused to visit his dying master Joseph II. for two whole years. He would not breathe fresh air. On the warmest summer day he kept a handkerchief over his mouth when out of doors, and his only exercise was riding under glass, which he did every morning for exactly the same number of minutes. He relaxed from his work in the company of a small dependent society of sycophants and buffoons. He was consumed by a solemn, garrulous and pedantic vanity. When in 1770 he met Frederick the Great at Mährisch-Neustadt, he came with a summary of political principles, which he called a catechism, in his pocket, and assured the king that he must be allowed to speak without interruption. When Frederick, whose interest it was to humour him, promised to listen quietly, Kaunitz rolled his mind out for two hours, and went away with the firm conviction that he had at last enlightened the inferior intellect of the king of Prussia as to what politics really were. Within a very short time Frederick had completely deceived and out-manœuvred him. With all his pomposity and conceit, Kaunitz was astute, he was laborious and orderly; when his advice was not taken he would carry out the wishes of his masters, while no defeat ever damped his pertinacity.
To tell his history from 1750 till his retirement in 1792 would be to tell part of the internal history of Austria, and all the international politics of eastern and central Europe. His governing principle was to forward the interests of “the august house of Austria,” a phrase sometimes repeated at every few lines of his despatches. In internal affairs he in 1758 recommended, and helped to promote, a simplification of the confused and subdivided Austrian administration. But his main concern was always with diplomacy and foreign policy. Here he strove with untiring energy, and no small measure of success, to extend the Austrian dominions. After the Seven Years’ War he endeavoured to avoid great risks, and sought to secure his ends byalliances, exchanges and claims professing to have a legal basis, and justified at enormous length by arguments both pedantic and hypocritical. The French Revolution had begun to alter all the relations of the Powers before his retirement. He never understood its full meaning. Yet the circular despatch which he addressed to the ambassadors of the emperor on the 17th of July 1794 contains the first outlines of Metternich’s policy of “legitimacy,” and the first proposal for the combined action of the powers, based on the full recognition of one another’s rights, to defend themselves against subversive principles. Kaunitz died at his house, the Garten Palast, near Vienna, on the 27th of June 1794. He married on the 6th of May 1736, Maria Ernestine von Starhemberg, who died on the 6th of September 1754. Four sons were born of the marriage.
See Hormayr,Oesterreichischer Plutarch(Vienna, 1823), for a biographical sketch based on personal knowledge. Also see Brunner,Joseph II.: Correspondance avec Cobenzl et Kaunitz(Mayence, 1871); A. Beer,Joseph II., Leopold II. und Kaunitz(Vienna, 1873).
See Hormayr,Oesterreichischer Plutarch(Vienna, 1823), for a biographical sketch based on personal knowledge. Also see Brunner,Joseph II.: Correspondance avec Cobenzl et Kaunitz(Mayence, 1871); A. Beer,Joseph II., Leopold II. und Kaunitz(Vienna, 1873).
KAUP, JOHANN JAKOB(1803-1873), German naturalist, was born at Darmstadt on the 10th of April 1803. After studying at Göttingen and Heidelberg he spent two years at Leiden, where his attention was specially devoted to the amphibians and fishes. He then returned to Darmstadt as an assistant in the grand ducal museum, of which in 1840 he became inspector. In 1829 he publishedSkizze zur Entwickelungsgeschichte der europäischen Thierwelt, in which he regarded the animal world as developed from lower to higher forms, from the amphibians through the birds to the beasts of prey; but subsequently he repudiated this work as a youthful indiscretion, and on the publication of Darwin’sOrigin of Specieshe declared himself against its doctrines. The extensive fossil deposits in the neighbourhood of Darmstadt gave him ample opportunities for palaeontological inquiries, and he gained considerable reputation by hisBeiträge zur näheren Kenntniss der urweltlichen Säugethiere(1855-1862). He also wroteClassification der Säugethiere und Vögel(1844), and, with H. G. Brown (1800-1862) of Heidelberg,Die Gavial-artigen Reste aus dem Lias(1842-1844). He died at Darmstadt on the 4th of July 1873.
KAURI PINE,in botany,Agathis australis, a conifer native of New Zealand where it is abundant in forests in the North Island between the North Cape and 38° south latitude. The forests are rapidly disappearing owing to use as timber and to destruction by fires. It is a tall resiniferous tree, usually ranging from 80 to 100 ft. in height, with a trunk 4 to 10 ft. in diameter, but reaching 150 ft., with a diameter of 15 to 22 ft.; it has a straight columnar trunk and a rounded bushy head. The thick resiniferous bark falls off in large flat flakes. The leaves, which persist for several years, are very thick and leathery; on young trees they are lance-shaped 2 to 4 in. long and ¼ to ½ in. broad, becoming on mature trees linear-oblong or obovate-oblong and ¾ to 1½ in. long. The ripe cones are almost spherical, erect, and 2 to 3 in. in diameter; the broad, flat, rather thin cone-scales fall from the axis when ripe. Each scale bears a single compressed seed with a membranous wing. The timber is remarkable for its strength, durability and the ease with which it is worked. The resin, kauri-gum, is an amber-like deposit dug in large quantities from the sites of previous forests, in lumps generally varying in size from that of a hen’s egg to that of a man’s head. The colour is of a rich brown or amber yellow, or it may be almost colourless and translucent. It is of value for varnish-making.
KAVA(CavaorAva), an intoxicating, but non-alcoholic beverage, produced principally in the islands of the South Pacific, from the roots or leaves of a variety of the pepper plant (Piper methysticum). The method of preparation is somewhat peculiar. The roots or leaves are first chewed by young girls or boys, care being taken that only those possessing sound teeth and excellent general health shall take part in this operation. The chewed material is then placed in a bowl, and water or coco-nut milk is poured over it, the whole is well stirred, and subsequently the woody matter is removed by an ingenious but simple mechanical manipulation. The resulting liquid, which has a muddy orcafé-au-laitappearance, or is of a greenish hue if made from leaves, is now ready for consumption. The taste of the liquid is at first sweet, and then pungent and acrid. The usual dose corresponds to about two mouthfuls of the root. Intoxication (but this apparently only applies to those not inured to the use of the liquor) follows in about twenty minutes. The drunkenness produced by kava is of a melancholy, silent and drowsy character. Excessive drinking is said to lead to skin and other diseases, butper contramany medicinal virtues are ascribed to the preparation. There appears to be little doubt that the active principle in this beverage is a poison of an alkaloidal nature. It seems likely that this substance is not present as such (i.e.as a free alkaloid) in the plant, but that it exists in the form of a glucoside, and that by the process of chewing this glucoside is split up by one of the ferments in the saliva into the free alkaloid and sugar.
SeePharm. Journ. iii. 474; iv. 85; ix. 219; vii. 149;Comptes Rendus, l. 436, 598; lii. 206;Journ. de Pharm.(1860) 20; (1862) 218; Seeman,Flora Vitiensis, 260; Beachy,Voyage of the “Blossom,”ii. 120.
SeePharm. Journ. iii. 474; iv. 85; ix. 219; vii. 149;Comptes Rendus, l. 436, 598; lii. 206;Journ. de Pharm.(1860) 20; (1862) 218; Seeman,Flora Vitiensis, 260; Beachy,Voyage of the “Blossom,”ii. 120.
KAVADH(Kabades,Kauades), a Persian name which occurs first in the mythical history of the old Iranian kingdom as Kai Kobadh (Kaikobad). It was borne by two kings of the Sassanid dynasty.
(1)Kavadh I., son of Pērōz, crowned by the nobles in 488 in place of his uncle Balash, who was deposed and blinded. At this time the empire was utterly disorganized by the invasion of the Ephthalites or White Huns from the east. After one of their victories against Pērōz, Kavadh had been a hostage among them during two years, pending the payment of a heavy ransom. In 484 Pērōz had been defeated and slain with his whole army. Balash was not able to restore the royal authority. The hopes of the magnates and high priests that Kavadh would suit their purpose were soon disappointed. Kavadh gave his support to the communistic sect founded by Mazdak, son of Bamdad, who demanded that the rich should divide their wives and their wealth with the poor. His intention evidently was, by adopting the doctrine of the Mazdakites, to break the influence of the magnates. But in 496 he was deposed and incarcerated in the “Castle of Oblivion (Lethe)” in Susiana, and his brother Jamasp (Zamaspes) was raised to the throne. Kavadh, however, escaped and found refuge with the Ephthalites, whose king gave him his daughter in marriage and aided him to return to Persia. In 499 he became king again and punished his opponents. He had to pay a tribute to the Ephthalites and applied for subsidies to Rome, which had before supported the Persians. But now the emperor Anastasius refused subsidies, expecting that the two rival powers of the East would exhaust one another in war. At the same time he intervened in the affairs of the Persian part of Armenia. So Kavadh joined the Ephthalites and began war against the Romans. In 502 he took Theodosiopolis in Armenia, in 503 Amida (Diarbekr) on the Tigris. In 505 an invasion of Armenia by the western Huns from the Caucasus led to an armistice, during which the Romans paid subsidies to the Persians for the maintenance of the fortifications on the Caucasus. When Justin I. (518-527) came to the throne the conflict began anew. The Persian vassal, Mondhir of Hira, laid waste Mesopotamia and slaughtered the monks and nuns. In 531 Belisarius was beaten at Callinicum. Shortly afterwards Kavadh died, at the age of eighty-two, in September 531. During his last years his favourite son Chosroes had had great influence over him and had been proclaimed successor. He also induced Kavadh to break with the Mazdakites, whose doctrine had spread widely and caused great social confusion throughout Persia. In 529 they were refuted in a theological discussion held before the throne of the king by the orthodox Magians, and were slaughtered and persecuted everywhere; Mazdak himself was hanged. Kavadh evidently was, as Procopius (Pers.i. 6) calls him, an unusually clear-sighted and energetic ruler. Although he could not free himself from the yoke of the Ephthalites, he succeeded in restoring order in the interior and fought with success against the Romans. He built sometowns which were named after him, and began to regulate the taxation.
(2)Kavadh II. Sheroe(Siroes), son of Chosroes II., was raised to the throne in opposition to his father in February 628, after the great victories of the emperor Heraclius. He put his father and eighteen brothers to death, began negotiations with Heraclius, but died after a reign of a few months.
(Ed. M.)
KAVALA,orCavalla, a walled town and seaport of European Turkey in the vilayet of Salonica, on the Bay of Kavala, an inlet of the Aegean Sea. Pop. (1905), about 5000. Kavala is built on a promontory stretching south into the bay, and opposite the island of Thasos. There is a harbour on each side of the promontory. The resident population is increased in summer by an influx of peasantry, of whom during the season 5000 to 6000 are employed in curing tobacco and preparing it for export. The finest Turkish tobacco is grown in the district, and shipped to all parts of Europe and America, to the annual value of about £1,250,000. Mehemet Ali was born here in 1769, and founded a Turkish school which still exists. His birthplace, an unpretentious little house in one of the tortuous older streets, can be distinguished by the tablet which the municipal authorities have affixed to its front wall. Numerous Roman remains have been found in the neighbourhood, of which the chief is the large aqueduct on two tiers of arches which still serves to supply the town and dilapidated citadel with water from Mount Pangeus.
Kavala has been identified with Neapolis, at which St Paul landed on his way from Samothrace to Philippi (Acts xvi. 11). Neapolis was the port of Philippi, as Kavala now is of Seres; in the bay on which it stands the fleet of Brutus and Cassius was stationed during the battle of Philippi. Some authorities identify Neapolis with Datum (Δάτον), mentioned by Herodotus as famous for its gold mines.
Kavala has been identified with Neapolis, at which St Paul landed on his way from Samothrace to Philippi (Acts xvi. 11). Neapolis was the port of Philippi, as Kavala now is of Seres; in the bay on which it stands the fleet of Brutus and Cassius was stationed during the battle of Philippi. Some authorities identify Neapolis with Datum (Δάτον), mentioned by Herodotus as famous for its gold mines.
KAVANAGH, ARTHUR MACMORROUGH(1831-1889), Irish politician, son of Thomas Kavanagh, M.P., who traced his descent to the ancient kings of Leinster, was born in Co. Carlow, Ireland, on the 25th of March 1831. He had only the rudiments of arms and legs, but in spite of these physical defects had a remarkable career. He learnt to ride in the most fearless way, strapped to a special saddle, and managing the horse with the stumps of his arms; and also fished, shot, drew and wrote, various mechanical contrivances being devised to supplement his limited physical capacities. He travelled extensively in Egypt, Asia Minor, Persia and India between 1846 and 1853, and after succeeding to the family estates in the latter year, he married in 1855 his cousin, Miss Frances Mary Leathley. Assisted by his wife, he was a most philanthropic landlord, and was an active county magistrate and chairman of the board of guardians. A Conservative and a Protestant, he sat in Parliament for Co. Wexford from 1866 to 1868, and for Co. Carlow from 1868 to 1880. He was opposed to the disestablishment of the Irish Church, but supported the Land Act of 1870, and sat on the Bessborough Commission. In 1886 he was made a member of the Privy Council in Ireland. He died of pneumonia on the 25th of December 1889, in London. It is supposed that his extraordinary career suggested the idea of “Lucas Malet’s” novel,The History of Sir Richard Calmady.
KAVANAGH, JULIA(1824-1877), British novelist, was born at Thurles in Tipperary, Ireland, in 1824. She was the daughter of Morgan Peter Kavanagh (d. 1874), author of various worthless philological works and some poems. Julia spent several years of her early life with her parents in Normandy, laying there the foundation of a mastery of the French language and insight into French modes of thought, which was perfected by her later frequent and long residences in France. Miss Kavanagh’s literary career began with her arrival in London about 1844, and her uneventful life affords few incidents to the biographer. Her first book wasThree Paths(1847), a story for the young; but her first work to attract notice wasMadeleine, a Tale of Auvergne(1848). Other books followed:A Summer and Winter in the Two Sicilies(1858);French Women of Letters(1862);English Women of Letters(1862);Woman in France during the 18th Century(1850); andWomen of Christianity(1852). The scenes of her stories are almost always laid in France, and she handles her French themes with fidelity and skill. Her style is simple and pleasing rather than striking; and her characters are interesting without being strongly individualized. Her most popular novels were perhapsAdèle(1857),Queen Mab(1863), andJohn Dorrien(1875). On the outbreak of the Franco-German War Julia Kavanagh removed with her mother from Paris to Rouen. She died at Nice on the 28th of October 1877.
KAVASS,orCavass(adapted from the Turkishqawwas, a bow-maker; Arabicqaws, a bow), a Turkish name for an armed police-officer; also for a courier such as it is usual to engage when travelling in Turkey.
KAVIRONDO,a people of British East Africa, who dwell in the valley of the Nzoia River, on the western slopes of Mount Elgon, and along the north-east coast of Victoria Nyanza. Kavirondo is the general name of two distinct groups of tribes, one Bantu and the other Nilotic. Both groups are immigrants, the Bantu from the south, the Nilotic from the north. The Bantu appear to have been the first comers. The Nilotic tribes, probably an offshoot of the Acholi (q.v.), appear to have crossed the lake to reach their present home, the country around Kavirondo Gulf. Of the two groups the Bantu now occupy a more northerly position than their neighbours, and “are practically the most northerly representatives of that race” (Hobley). Their further progress north was stopped by the southward movement of the Nilotic tribes, while the Nilotic Kavirondo in their turn had their wanderings arrested by an irruption of Elgumi people from the east. The Elgumi are themselves probably of Nilotic origin. Both groups of Kavirondo are physically fine, the Nilotic stock appearing more virile than the Bantu. The Bantu Kavirondo are divided into three principal types—the Awa-Rimi, the Awa-Ware and the Awa-Kisii. By the Nilotic Kavirondo their Bantu neighbours are known as Ja-Mwa. The generic name for the Nilotic tribes is Ja-Luo. The Bantu Kavirondo call them Awa-Nyoro. The two groups have many characteristics in common. A characteristic feature of the people is their nakedness. Among the Nilotic Kavirondo married men who are fathers wear a small piece of goat-skin, which though practically useless as a covering must be worn according to tribal etiquette. Even among men who have adopted European clothing this goat-skin must still be worn underneath. Contact with whites has led to the adoption of European clothing by numbers of the men, but the women, more conservative, prefer nudity or the scanty covering which they wore before the advent of Europeans. Among the Bantu Kavirondo married women wear a short fringe of black string in front and a tassel of banana fibre suspended from a girdle behind, this tassel having at a distance the appearance of a tail. Hence the report of early travellers as to a tailed race in Africa. The Nilotic Kavirondo women wear the tail, but dispense with the fringe in front. For “dandy” they wear a goat-skin slung over the shoulders. Some of the Bantu tribes practise circumcision, the Nilotic tribes do not. Patterns are tattooed on chest and stomach for ornament. Men, even husbands, are forbidden to touch the women’s tails, which must be worn even should any other clothing be wrapped round the body. The Kavirondo are noted for their independent and pugnacious nature, their honesty and their sexual morality, traits particularly marked among the Bantu tribes. There are more women than men, and thus the Kavirondo are naturally inclined towards polygamy. Among the Bantu tribes a man has the refusal of all the younger sisters of his wife as they attain puberty. Practically no woman lives unmarried all her life, for if no suitor seeks her, she singles out a man and offers herself to him at a “reduced price,” an offer usually accepted, as the women are excellent agricultural labourers. The Nilotic Kavirondo incline to exogamy, endeavouring always to marry outside their clan. Girls are betrothed at six or seven, and the husband-elect continually makes small presents to his father-in-law-elect till the bride reaches womanhood. It is regarded as shameful if the girl be not found a virgin on her wedding day. She is sent back to her parents, who have to return the marriageprice, and pay a fine. The wife’s adultery was formerly punished with death, and the capital penalty was also inflicted on young men and girls guilty of unchastity. Among the Bantu Kavirondo the usual minimum price for a wife is forty hoes, twenty goats and one cow, paid in instalments. The Nilotic Kavirondo pay twenty sheep and two to six cows; the husband-elect can claim his bride when he has made half payment. If a woman dies without bearing children, the amount of her purchase is returnable by her father, unless the widower consents to replace her by another sister. The women are prolific and the birth of twins is common. This is considered a lucky event, and is celebrated by feasting and dances. Among the Bantu Kavirondo the mother of twins must remain in her hut for seven days. Among the Nilotic Kavirondo the parents and the infants must stay in the hut for a whole month. If a Bantu mother has lost two children in succession the next child born is taken out at dawn and placed on the road, where it is left till a neighbour, usually a woman friend who has gone that way on purpose, picks it up. She takes it to its mother who gives a goat in return. A somewhat similar custom prevails among the Nilotic tribes. Names are not male and female, and a daughter often bears her father’s name.
The Kavirondo bury their dead. Among one of the Bantu tribes, the Awa-Kisesa, a chief is buried in the floor of his own hut in a sitting position, but at such a depth that the head protrudes. Over the head an earthenware pot is placed, and his principal wives have to remain in the hut till the flesh is eaten by ants or decomposes, when the skull is removed and buried close to the hut. Later the skeleton is unearthed, and reburied with much ceremony in the sacred burial place of the tribe. Married women of the Bantu tribes are buried in their hut lying on their right side with legs doubled up, the hut being then deserted. Among the Nilotic tribes the grave is dug beneath the verandah of the hut. Men of the Bantu tribes are buried in an open space in the midst of their huts; in the Nilotic tribes, if the first wife of the deceased be alive he is buried in her hut, if not, beneath the verandah of the hut in which he died. A child is buried near the door of its mother’s hut. A sign of mourning is a cord of banana fibre worn round the neck and waist. A chief chooses, sometimes years before his death, one of his sons to succeed him, often giving a brass bracelet as insignia. A man’s property is divided equally among his children.The Kavirondo are essentially an agricultural people: both men and women work in the fields with large iron hoes. In addition to sorghum,Eleusineand maize, tobacco and hemp are both cultivated and smoked. Both sexes smoke, but the use of hemp is restricted to men and unmarried women, as it is thought to injure child-bearing women. Hemp is smoked in a hubble-bubble. The Kavirondo cultivate sesamum and make an oil from its seeds which they burn in little clay lamps. These lamps are of the ancient saucer type, the pattern being, in Hobley’s opinion, introduced into the country by the coast people. While some tribes live in isolated huts, those in the north have strongly walled villages. The walls are of mud and formerly, among the Nilotic tribes, occasionally of stone. Since the advent of the British the security of the country has induced the Kavirondo to let the walls fall into disrepair. Their huts are circular with conical thatched roof, and fairly broad verandah all round. A portion of the hut is partitioned off as a sleeping-place for goats, and the fowls sleep indoors in a large basket. Skins form the only bedsteads. In each hut are two fireplaces, about which a rigid etiquette prevails. Strangers or distant relatives are not allowed to pass beyond the first, which is near the door, and is used for cooking. At the second, which is nearly in the middle of the hut, sit the hut owner, his wives, children, brothers and sisters. Around this fireplace the family sleep. Cooking pots, water pots and earthenware grain jars are the only other furniture. The food is served in small baskets. Every full grown man has a hut to himself, and one for each wife. The huts of the Masaba Kavirondo of west Elgon have the apex of the roof surmounted by a carved pole which Sir H. H. Johnston says is obviously a phallus. Among the Bantu Kavirondo a father does not eat with his sons, nor do brothers eat together. Among the Nilotic tribes father and sons eat together, usually in a separate hut with open sides. Women eat apart and only after the men have finished. The Kavirondo keep cattle, sheep, goats, fowls and a few dogs. Women do not eat sheep, fowls or eggs, and are not allowed to drink milk except when mixed with other things. The flesh of the wild cat and leopard is esteemed by most of the tribes. FromEleusinea beer is made. The Kavirondo are plucky hunters, capturing the hippopotamus with ropes and traps, and attacking with spears the largest elephants. Fish, of which they are very fond, are caught by line and rod or in traps. Bee-keeping is common, and where trees are scarce the hives are placed on the roof of the hut. Among the Bantu Kavirondo goats and sheep are suffocated, the snout being held until the animal dies. Though a peaceful people the Kavirondo fight well. Their weapons are spears with rather long flat blades without blood-courses, and broad-bladed swords. Some use slings, and most carry shields. Bows and arrows are also used; firearms are however displacing other weapons. Kavirondo warfare was mainly defensive and intertribal, this last a form of vendetta. When a man had killed his enemy in battle he shaved his head on his return and he was rubbed with “medicine” (generally goat’s dung), to defend him from the spirit of the dead man. This custom the Awa-Wanga abandoned when they obtained firearms. The young warriors were made to stab the bodies of their slain enemies. Kavirondo industries are salt-making, effected by burning reeds and water-plants and passing water through the ashes; the smelting of iron ore (confined to the Bantu tribes); pottery and basket-work.The Kavirondo have many tribes, divided, Sir H. H. Johnston suspects, totemically. Their religion appears to be a vague ancestor-worship, but the northern tribes have two gods, Awafwa and Ishishemi, the spirits of good and evil. To the former cattle and goats are sacrificed. The Kavirondo have great faith in divination from the entrails of a sheep. Nearly everybody and everything is to the Kavirondo ominous of good or evil. They have few myths or traditions; the ant-bear is the chief figure in their beast-legends. They believe in witchcraft and practise trial by ordeal. As a race the Kavirondo are on the increase. This is due to their fecundity and morality. Those who live in the low-lying lands suffer from a mild malaria, while abroad they are subject to dysentery and pneumonia. Epidemics of small-pox have occurred. Native medicine is of the simplest. They dress wounds with butter and leaves, and for inflammation of the lungs or pleurisy pierce a hole in the chest. There are no medicine-men—the women are the doctors. Certain of the incisor teeth are pulled out. If a man retains these he will, it is thought, be killed in warfare. Among certain tribes the women also have incisor teeth extracted, otherwise misfortune would befall their husbands. For the same reason the wife scars the skin of her forehead or stomach. A Kavirondo husband, before starting on a perilous journey, cuts scars on his wife’s body to ensure him good luck. Of dances the Kavirondo have four—the birth dance, the death dance, that at initiation and one of a propitiatory kind in seasons of drought. Their music is plaintive and sometimes pretty, produced by a large lyre-shaped instrument. They use also various drums.The Ja-Luo women use for ear ornaments small beads attached to pieces of brass. Like the aggry beads of West Africa these beads are not of local manufacture nor of recent introduction. They are ancient, in colour generally blue, occasionally yellow or green, and are picked up in certain districts after heavy rain. By the natives they are supposed to come down with the rain. They are identical in shape and colour with ancient Egyptian beads and other beads obtained from ancient cities in Baluchistan.See C. W. Hobley,Eastern Uganda, an Ethnological Survey(Anthrop. Inst.,Occasional Papers, No. 1, London, 1902); Sir H. H. Johnston,Uganda Protectorate(1902); J. F. Cunningham,Uganda and its Peoples(1905); Paul Kollmann,The Victoria Nyanza(1899).
The Kavirondo bury their dead. Among one of the Bantu tribes, the Awa-Kisesa, a chief is buried in the floor of his own hut in a sitting position, but at such a depth that the head protrudes. Over the head an earthenware pot is placed, and his principal wives have to remain in the hut till the flesh is eaten by ants or decomposes, when the skull is removed and buried close to the hut. Later the skeleton is unearthed, and reburied with much ceremony in the sacred burial place of the tribe. Married women of the Bantu tribes are buried in their hut lying on their right side with legs doubled up, the hut being then deserted. Among the Nilotic tribes the grave is dug beneath the verandah of the hut. Men of the Bantu tribes are buried in an open space in the midst of their huts; in the Nilotic tribes, if the first wife of the deceased be alive he is buried in her hut, if not, beneath the verandah of the hut in which he died. A child is buried near the door of its mother’s hut. A sign of mourning is a cord of banana fibre worn round the neck and waist. A chief chooses, sometimes years before his death, one of his sons to succeed him, often giving a brass bracelet as insignia. A man’s property is divided equally among his children.
The Kavirondo are essentially an agricultural people: both men and women work in the fields with large iron hoes. In addition to sorghum,Eleusineand maize, tobacco and hemp are both cultivated and smoked. Both sexes smoke, but the use of hemp is restricted to men and unmarried women, as it is thought to injure child-bearing women. Hemp is smoked in a hubble-bubble. The Kavirondo cultivate sesamum and make an oil from its seeds which they burn in little clay lamps. These lamps are of the ancient saucer type, the pattern being, in Hobley’s opinion, introduced into the country by the coast people. While some tribes live in isolated huts, those in the north have strongly walled villages. The walls are of mud and formerly, among the Nilotic tribes, occasionally of stone. Since the advent of the British the security of the country has induced the Kavirondo to let the walls fall into disrepair. Their huts are circular with conical thatched roof, and fairly broad verandah all round. A portion of the hut is partitioned off as a sleeping-place for goats, and the fowls sleep indoors in a large basket. Skins form the only bedsteads. In each hut are two fireplaces, about which a rigid etiquette prevails. Strangers or distant relatives are not allowed to pass beyond the first, which is near the door, and is used for cooking. At the second, which is nearly in the middle of the hut, sit the hut owner, his wives, children, brothers and sisters. Around this fireplace the family sleep. Cooking pots, water pots and earthenware grain jars are the only other furniture. The food is served in small baskets. Every full grown man has a hut to himself, and one for each wife. The huts of the Masaba Kavirondo of west Elgon have the apex of the roof surmounted by a carved pole which Sir H. H. Johnston says is obviously a phallus. Among the Bantu Kavirondo a father does not eat with his sons, nor do brothers eat together. Among the Nilotic tribes father and sons eat together, usually in a separate hut with open sides. Women eat apart and only after the men have finished. The Kavirondo keep cattle, sheep, goats, fowls and a few dogs. Women do not eat sheep, fowls or eggs, and are not allowed to drink milk except when mixed with other things. The flesh of the wild cat and leopard is esteemed by most of the tribes. FromEleusinea beer is made. The Kavirondo are plucky hunters, capturing the hippopotamus with ropes and traps, and attacking with spears the largest elephants. Fish, of which they are very fond, are caught by line and rod or in traps. Bee-keeping is common, and where trees are scarce the hives are placed on the roof of the hut. Among the Bantu Kavirondo goats and sheep are suffocated, the snout being held until the animal dies. Though a peaceful people the Kavirondo fight well. Their weapons are spears with rather long flat blades without blood-courses, and broad-bladed swords. Some use slings, and most carry shields. Bows and arrows are also used; firearms are however displacing other weapons. Kavirondo warfare was mainly defensive and intertribal, this last a form of vendetta. When a man had killed his enemy in battle he shaved his head on his return and he was rubbed with “medicine” (generally goat’s dung), to defend him from the spirit of the dead man. This custom the Awa-Wanga abandoned when they obtained firearms. The young warriors were made to stab the bodies of their slain enemies. Kavirondo industries are salt-making, effected by burning reeds and water-plants and passing water through the ashes; the smelting of iron ore (confined to the Bantu tribes); pottery and basket-work.
The Kavirondo have many tribes, divided, Sir H. H. Johnston suspects, totemically. Their religion appears to be a vague ancestor-worship, but the northern tribes have two gods, Awafwa and Ishishemi, the spirits of good and evil. To the former cattle and goats are sacrificed. The Kavirondo have great faith in divination from the entrails of a sheep. Nearly everybody and everything is to the Kavirondo ominous of good or evil. They have few myths or traditions; the ant-bear is the chief figure in their beast-legends. They believe in witchcraft and practise trial by ordeal. As a race the Kavirondo are on the increase. This is due to their fecundity and morality. Those who live in the low-lying lands suffer from a mild malaria, while abroad they are subject to dysentery and pneumonia. Epidemics of small-pox have occurred. Native medicine is of the simplest. They dress wounds with butter and leaves, and for inflammation of the lungs or pleurisy pierce a hole in the chest. There are no medicine-men—the women are the doctors. Certain of the incisor teeth are pulled out. If a man retains these he will, it is thought, be killed in warfare. Among certain tribes the women also have incisor teeth extracted, otherwise misfortune would befall their husbands. For the same reason the wife scars the skin of her forehead or stomach. A Kavirondo husband, before starting on a perilous journey, cuts scars on his wife’s body to ensure him good luck. Of dances the Kavirondo have four—the birth dance, the death dance, that at initiation and one of a propitiatory kind in seasons of drought. Their music is plaintive and sometimes pretty, produced by a large lyre-shaped instrument. They use also various drums.
The Ja-Luo women use for ear ornaments small beads attached to pieces of brass. Like the aggry beads of West Africa these beads are not of local manufacture nor of recent introduction. They are ancient, in colour generally blue, occasionally yellow or green, and are picked up in certain districts after heavy rain. By the natives they are supposed to come down with the rain. They are identical in shape and colour with ancient Egyptian beads and other beads obtained from ancient cities in Baluchistan.
See C. W. Hobley,Eastern Uganda, an Ethnological Survey(Anthrop. Inst.,Occasional Papers, No. 1, London, 1902); Sir H. H. Johnston,Uganda Protectorate(1902); J. F. Cunningham,Uganda and its Peoples(1905); Paul Kollmann,The Victoria Nyanza(1899).