See _Monumenta Zollerana_, edited by R. von Stillfried and T. Marker (Berlin, 1852-1890); _Quellen und Untersuchungen zur Geschichte des Hauses Hohenzollern_, edited by E. Berner (Berlin, 1901 fol.); R. von Stillfried, _Altertumer und Kunstdenkmale des erlauchten Hauses von Hohenzollern_ (Berlin, 1852-1867) and _Stammtafeln des Gesamthauses Hohenzollern_ (Berlin, 1869); L. Schmid, _Die alteste Geschichte des erlauchten Gesamthauses der koniglichen und furstlichen Hohenzollern_ (Tubingen, 1884-1888); E. Schwartz, _Stammtafel des preussischen Konigshauses_ (Breslau 1898); _Hohenzollernsche Forschungen, Jahrbuch fur die Geschichte der Hohenzollern_, edited by C. Meyer (Berlin, 1891-1902); _Hohenzollern Jahrbuch, Forschungen und Abbildungen zur Geschichte der Hohenzollern in Brandenburg-Freussen_, edited by Seidel (Leipzig, 1897-1903), and T. Carlyle, _History of Frederick the Great_ (London, 1872-1873). (A. W. H.*) HOKKAIDO, the Japanese name for the northern division of the empire (_Hoku_ = north, _kai_ = sea, and _do_ = road), including Yezo, the Kuriles and their adjacent islets. HOKUSAI (1760-1849), the greatest of all the Japanese painters of the Popular School (_Ukiyo-ye_), was born at Yedo (Tokyo) in the 9th month of the 10th year of the period Horeki, i.e. October-November 1760. He came of an artisan family, his father having been a mirror-maker, Nakajima Issai. After some practice as a wood-engraver he, at the age of eighteen, entered the studio of Katsugawa Shunsho, a painter and designer of colour-prints of considerable importance. His disregard for the artistic principles of his master caused his expulsion in 1785; and thereafter--although from time to time Hokusai studied various styles, including especially that of Shiba Gokan, from whom he gained some fragmentary knowledge of European methods--he kept his personal independence. For a time he lived in extreme poverty, and, although he must have gained sums for his work which might have secured him comfort, he remained poor, and to the end of his life proudly described himself as a peasant. He illustrated large numbers of books, of which the world-famous _Mangwa_, a pictorial encyclopaedia of Japanese life, appeared in fifteen volumes from 1812 to 1875. Of his colour-prints the "Thirty-six Views of Mount Fuji" (the whole set consisting of forty-six prints) were made between 1823 and 1829; "Views of Famous Bridges" (11), "Waterfalls" (8), and "Views of the Lu-chu Islands" (8), are the best known of those issued in series; but Hokusai also designed some superb broadsheets published separately, and his _surimono_ (small prints made for special occasions and ceremonies) are unequalled for delicacy and beauty. The "Hundred Views of Mount Fuji" (1834-1835), 3 vols., in monochrome, are of extraordinary originality and variety. As a painter and draughtsman Hokusai is not held by Japanese critics to be of the