598 



HAYDON 



HAYES 



water-parties, dances, &c. Many of Haydn's most 

 beautiful symphonies were written here, and the 

 greater number of his magnificent quartets. The 

 excessive demands on his invention do not seem to 

 have impaired its fertility in the slightest. After 

 the death of Prince Esterhazy in 1790 Haydn accom- 

 panied Salomon the violinist to England, where, in 

 1791-92, he produced six of his Twelve Grand Sym- 

 phonies. His reception was brilliant in the highest 

 degree. On his return to Vienna he had Beethoven 

 for a pupil. In 1794 he made a second engagement 

 with Salomon for England, and during this period 

 brought out the remaining six symphonies. In 

 England he first obtained that recognition which 

 afterwards fell to his share in his own country. On 

 his return to Austria he purchased a small house 

 with a garden in one of the suburbs of Vienna. 

 Here he composed his oratorios the Creation and 

 the Seasons. The former work, the harmonies of 

 which are pervaded with the fire of youth, was 

 written in his sixty-fifth year; the Seasons (com- 

 pleted in eleven months ) was almost his last work. 

 He died at Vienna, 31st May 1809. 



In person Haydn was below the middle stature. 

 His features were regular, and the general cast of 

 his countenance a stern one. He had the peculi- 

 arity of never laughing aloud. He was very neat 

 and methodical in his habits composing a certain 

 number of hours daily, and wearing full court dress 

 when so engaged. His musical style is marked by 

 the predominance of melody melody in its tender- 

 ness, melody in its power, melody incessant. His 

 works have therefore more spoiitaneousness and 

 charm than the elder school of Bach and Handel, 

 but less massiveness, sublimity, and majesty. He 

 clearly realised and pursued his aim, laying down 

 the principle that ' melody is the charm of music, 

 and the invention of a fine air is a work of genius.' 

 He is the father of the symphony, and conduced 

 more than any other man to that separation of 

 instrumental music from vocal, unknown or little 

 practised before his day, which has given an inde- 

 pendent life to instrumental music up to the present 

 time. 



Haydn's works are exceedingly numerous, com- 

 prising 125 symphonies, 83 quartets, 38 trios, 14 

 operas, 8 oratorios, 175 pieces for the baritone, 24 

 concertos for different instruments, 14 masses, 1 

 Stabat Mater, 10 smaller church pieces, 44 sonatas 

 for the pianoforte, with and without accompani- 

 ments ; 12 German and Italian songs, 39 canzonets, 

 13 hymns in three and four parts, the harmony and 

 accompaniment to 364 old Scottish songs, besides 

 a prodigious number of divertissements and pieces 

 for various instruments. 



Compare Carpani's Le Haydine (2d ed. Padua, 1823); 

 Haydn's autobiographical sketch, first published in the 

 Wiener Zeitschrift filr Kunst (1836); Karajan's Joseph 

 Haydn in London ( Vienna, 1861 ) ; Pohl, Joseph Haydn 

 ( 3 vols. 1875-90 ) ; Miss Townsend's Life of Haydn 

 (Lond. 1884). 



llaydon, BENJAMIN ROBERT, historical 

 painter, whose biography forms one of the saddest 

 pages in the record of British art, was born at 

 Plymouth on 25th January 1786. He attended the 

 grammar-school of Plympton, where Sir Joshua 

 Reynolds had been educated ; and his father, a 

 bookseller, being desirous that his son should 

 follow his own trade, placed him in his shop. But, 

 in spite of delicate eyesight, the boy was resolved 

 to become a painter, and in May 1804 he was 

 admitted a student of the Royal Academy, where 

 he was befriended and influenced by Fuseli, the 

 keeper. Three years later he exhibited his first 

 picture, 'Joseph and Mary resting on the Road 

 to Egypt,' and after studying assiduously for 

 three months the Elgin marbles, whose purchase 

 by the nation he afterwards enthusiastically advo- 



cated, he produced his 'Dentatus,' a commission 

 from Lord Mulgrave. The work was coldly re- 

 ceived by the Academy in 1809, and hung in the 

 anteroom ; and this treatment was the beginning 

 of the painter's rupture with that body, which 

 embittered his life and damaged his prospects. In 

 the following year he began a large subject from 

 Macbeth, which had been commissioned by Sir 

 George Beaumont, but was afterwards declined. 

 He was more successful with his 'Judgment of 

 Solomon,' probably his finest production, now in 

 the collection of Lord Ashburton, which he sold for 

 700 guineas. It gained a prize of 100 guineas from 

 the Royal Institution, which had awarded a like 

 sum for the 'Dentatus.' Having visited the Con- 

 tinent with Wilkie in 1814, and studied the old 

 masters in the Louvre, Haydon began his ' Christ's 

 Entry into Jerusalem,' which was completed in 

 1820, and realised 1700 by exhibition in the 

 Egyptian Hall, London. It is now in the art- 

 gallery of Philadelphia. Another immense reli- 

 gious subject, 'The Raising of Lazarus,' was com- 

 pleted in 1823, in the midst of great difficulties. 

 The artist had been arrested for debt during its 

 progress, and during the rest of his life he was 

 never able to free himself from financial embarrass- 

 ments, though it was proved that during six years, 

 from 1831 to 1836, he had earned 4617 by his 

 art. His ' Mock Election,' purchased by George 

 IV. for 500 guineas, was founded upon a scene 

 witnessed by the painter while a prisoner in King's 

 Bench. He resorted to every kind of expedient to 

 meet the needs of the moment. Greatly against 

 his will he took to portrait-painting ; a public sub- 

 scription was raised on his behalf; he raffled his 

 ' Eucles ' and ' Xenophon's First Sight of the Sea ; ' 

 he delivered a popular series of lectures on painting 

 and design in 1836, published in two volumes in 

 1844. In 1832 Lord Gray commissioned the well- 

 known picture of 'The Reform Banquet,' and in 

 1834 the Duke of Sutherland gave 400 guineas for a 

 ' Cassandra.' Haydon had never wearied of urging 

 upon government and persons of influence the 

 necessity for the national encouragement of art, 

 and it was a bitter disappointment when he failed 

 to obtain employment by the commissioners for 

 the decoration of the Houses of Parliament. He 

 was further crushed by the entire want of success 

 which attended his exhibition of two completed 

 pictures from the designs which he had prepared 

 for the cartoon competition ; his mind gave way, 

 and on 20th June 1846 he shot himself in his 

 studio before his unfinished painting of ' Alfred's 

 First Parliament.' The works of Haydon are 

 elevated in aim and subject, and Mr G. F. Watts, 

 R.A. , has pronounced that 'his expression of 

 anatomy and general perception of form are the 

 best by far that can be found in the English school, 

 and I feel even a direction towards something that 

 is only to be found in Phidias.' His works, how- 

 ever, are very unequal in their several parts ; his 

 execution was seldom equal throughout to his con- 

 ception ; and most of his productions bear only too 

 evident traces of the haste and the untoward cir- 

 cumstances amid which they were executed. See 

 the Life of Haydon, from his Autobiography and 

 Journals, edited by Tom Taylor (3 vols. 1853); 

 and his Correspondence and Table Talk, with a 

 Memoir by his son ( 1876). 



Haye, LA. See HAGUE. 



Hayes, AUGUSTUS ALLEN, chemist, was born 

 at Windsor, Vermont, in 1806, studied chemistry 

 under Professor Dana, and settled in Boston in 

 1828. He discovered the organic alkaloid sanguin- 

 aria, carried through experiments which led to the 

 construction in 1838 of improved furnaces and 

 boilers, suggested the process of reducing pig to 



