in 1595 the bailiff and constables of Hexham were removed as being "infected with combination and toleration of thieves." Hexham was at one time the market town of a large agricultural district. In 1227 a market on Monday and a fair on the vigil and day of St Luke the Evangelist were granted to the archbishop, and in 1320 Archbishop Melton obtained the right of holding two new fairs on the feasts of St James the Apostle lasting five days and of SS. Simon and Jude lasting six days. The market day was altered to Tuesday in 1662, and Sir William Fenwick, then lord of the manor, received a grant of a cattle market on the Tuesday after the feast of St Cuthbert in March and every Tuesday fortnight until the feast of St Martin. The market rights were purchased from Wentworth B. Beaumont, lord of the manor, in 1886. During the 17th and 18th centuries Hexham was noted for the leather trade, especially for the manufacture of gloves, but in the 19th century the trade began to decline. Coal mines which had belonged to the archbishop, were sold to Sir John Fenwick, Kt., in 1628. Hexham has never been represented in parliament, but gives its name to one of the four parliamentary divisions of the county. See Edward Bateson and A. B. Hinds, _A History of Northumberland_ vol. iii. (1893-1896); A. B. Wright, _An Essay towards the History of Hexham_ (1823); James Hewitt, _A Handbook to Hexham and its Antiquities_ (1879). HEYDEN, JAN VAN DER (1637-1712), Dutch painter, was born at Gorcum in 1637, and died at Amsterdam on the 12th of September 1712. He was an architectural landscape painter, a contemporary of Hobbema and Jacob Ruysdael, with the advantage, which they lacked, of a certain professional versatility; for, whilst they painted admirable pictures and starved, he varied the practice of art with the study of mechanics, improved the fire engine, and died superintendent of the lighting and director of the firemen's company at Amsterdam. Till 1672 he painted in partnership with Adrian van der Velde. After Adrian's death, and probably because of the loss which that event entailed upon him, he accepted the offices to which allusion has just been made. At no period of artistic activity had the system of division of labour been more fully or more constantly applied to art than it was in Holland towards the close of the 17th century. Van der Heyden, who was perfect as an architectural draughtsman in so far as he painted the outside of buildings and thoroughly mastered linear perspective, seldom turned his hand to the delineation of anything but brick houses and churches in streets and squares, or rows along canals, or "moated granges," common in his native country. He was a travelled man, had seen The Hague, Ghent and Brussels, and had ascended the Rhine past Xanten to Cologne, where he copied over and over again the tower and crane of the great cathedral. But he cared nothing for hill or vale, or stream or wood. He