A second edition of the _Chronicles_, enlarged and improved but without illustrations, which appeared in 1587, contained statements which were offensive to Queen Elizabeth and her advisers, and immediately after publication some of the pages were excised by order of the privy council. These excisions were published separately in 1723. An edition of the _Chronicles_, in accordance with the original text, was published in six volumes in 1808. The work contains a large amount of information, and shows that its compilers were men of great industry; but its chief interest lies in the fact that it was largely used by Shakespeare and other Elizabethan dramatists; Shakespeare, who probably used the edition of 1587, obtaining from the _Chronicles_ material for most of his historical plays, and also for _Macbeth_, _King Lear_ and part of _Cymbeline_. A single manuscript by Holinshed is known to be extant. This is a translation of Florence of Worcester, and is in the British Museum. See W. G. Boswell-Stone, _Shakspere's Holinshed_. _The Chronicle and the historical plays compared_ (London, 1896). HOLKAR, the family name of the Mahratta ruler of Indore (q.v.), which has been adopted as a dynastic title. The termination -_kar_ implies that the founder of the family came from the village of Hol near Poona. HOLL, FRANK (1845-1888), English painter, was born in London on the 4th of July 1845, and was educated chiefly at University College School. He was a grandson of William Holl, an engraver of note, and the son of Francis Holl, A.R.A., another engraver, whose profession he originally intended to follow. Entering the Royal Academy schools as a probationer in painting in 1860, he rapidly progressed, winning silver and gold medals, and making his debut as an exhibitor in 1864 with "A Portrait," and "Turned out of Church," a subject picture. "A Fern Gatherer" (1865); "The Ordeal" (1866); "Convalescent" (the somewhat grim pathos of which attracted much attention), and "Faces in the Fire" (1867), succeeded. Holl gained the travelling studentship in 1868; the successful work was characteristic of the young painter's mood, being "The Lord gave, and the Lord hath taken away." His insatiable zeal for work of all kinds began early to undermine the artist's health, but his position was assured by the studentship picture, which created a sort of _furore_, although, as with most of his works, the blackness of its coloration, probably due to his training as an engraver, was even more decidedly against it than the sadness of its theme. Otherwise, this painting exhibited nearly all the best technical qualities to which he ever attained, except high finish and clearness, and a very sincere vein of pathos. Holl was much below Millais In portraiture, and far inferior In all the higher ways of design; in technical resources, relatively speaking, he was but scantily provided. The range of his studies and the