illustrious Joseph, was also born at Rohrau on either the 11th or 14th of September, 1737; he died at Salzburg, August 10, 1806. Like his brother, he had his first musical impulses awakened by the singing and harp-playing of his mother and father. He sang as a boy in the choir of the imperial chapel at Vienna. Accounts vary between 1756 and 1763 as to the date of his being appointed music director to the bishop of Groswardein; in 1768 he was engaged as music director and concert master at Salzburg; and in 1801, when on a visit to Vienna, being introduced to Prince Esterhazy, this nobleman made him his kapellmeister, but with permission to reside at Salzburg in fulfilment of the offices he still held there. His name as a composer is so greatly eclipsed by that of his brother, that the world scarcely does justice to his merit. One symphony of his, "Die Schlittenfahrt" (The Sledge-journey), has even been published as Joseph's, and great ambiguity has in like manner been thrown over some other of his veritable productions. His ecclesiastical music, however, is esteemed by intelligent critics as of a very high order; and a jubilee mass, a Salve Regina, and Salve Redemptor, are regarded as admirable specimens of his ability.—G. A. M.
HAYDON, Benjamin Robert, an English historical painter of great powers and ability, but more remarkable for the vicissitudes of his life than distinguished for the excellence of his works. He was the son of a bookseller at Plymouth, where he was born, January 23, 1786, and he was educated at Plympton grammar-school. He adopted the profession of a painter contrary to the wishes of his father, who nevertheless allowed his son to visit London and enter as a student in the Royal Academy. Haydon arrived in London in 1804, and in the following year entered the Academy, where he at once formed an intimacy with his fellow-pupils, Wilkie, and Jackson the portrait-painter; his instructors and advisers were Fuseli, Northcote, and Opie. In 1807 he exhibited a picture of "The Flight into Egypt," which procured the painter a commission from Lord Mulgrave for his celebrated picture of "The Murder of Dentatus," the immediate cause of nearly all the troubles of Haydon's future life, from the dissatisfaction which he felt at the way it was hung in the Academy exhibition of 1809. Though many thought the picture well enough hung, the painter took such a different view of the matter, that he considered it a sufficient cause for a quarrel with and hostility to the Academy, which amounted almost to a monomania, and endured the whole of his life. This picture, which shows great power, is admirably engraved in wood by W. Harvey, Haydon's pupil; the painter described his subject, which is taken from Hooke's Roman History, as "the celebrated old Roman tribune Dentatus making his last desperate effort against his own soldiers, who attacked and murdered him in a narrow pass." This was the last picture he exhibited at the Academy; henceforth he established independent exhibitions of his own, and the list shows a considerable series of great and laborious works, but which secured the painter but a very variable success in his speculations, though on the whole he had quite his share of both public and private patronage. His works all suffer from imperfect execution. Haydon was aware of this at one time, and for a period devoted himself to the study of the Elgin marbles, then recently brought to England, and to portraiture, in order to overcome those defects, wholly without success however. The following are his principal works—In 1812, "Macbeth;" in 1814, "The Judgment of Solomon;" in 1820, "Christ's entry into Jerusalem;" in 1821, "Christ's agony in the Garden;" in 1823, "The Raising of Lazarus;" in 1826, "Pharaoh Dismissing the Israelites," and "Venus and Anchises;" in 1827, "Alexander and Bucephalus," and "Eucles;" in 1828, "The Mock Election in the King's Bench;" in 1830, "Napoleon at St. Helena;" in 1832, "Xenophon's first sight of the Sea, in the retreat with the Ten Thousand;" in 1834, "The Reform Banquet;" in 1835, "Achilles at the Court of Lycomedes discovering his Sex;" in 1836, "Samson and Delilah;" in 1838, "Christ blessing Little Children," for the Liverpool Blind Asylum; in 1839, "The Duke at Waterloo;" in 1841, "The Antislavery Convention," and "The Maid of Saragossa;" in 1842, "Curtius leaping into the Gulf;" in 1843, "The Entry of the Black Prince into London with King John of France as Prisoner" (a cartoon sent to the competition at Westminster hall); in 1844, "Alexander killing the Lion;" in 1845, "Uriel and Satan;" and lastly, in 1846, "The Banishment of Aristides," and "Nero watching the burning of Rome," illustrating the evils both of democracy and despotism. These two were Haydon's last works, and the disappointment he felt at the failure of their exhibition at the Egyptian hall was the final weight which crushed him. One of the last entries in his diary is—"Tom Thumb had 12,000 people last week, B. R. Haydon 133½ (the half a little girl). Exquisite taste of the English people." He was greatly involved in debt, and at last even his energy sunk under his accumulated difficulties, and on the 22nd of June of this year, 1846, he shot himself. One disappointment, from which he is said never to have recovered, was his failure in getting a premium in the Westminster Hall cartoon competition for the decoration of the new houses of parliament, an employment he had greatly desired. He was also almost always suffering under pecuniary difficulties, although his receipts were really very large compared with the average income of painters, and he had much liberal help from friends. He passed twice through the insolvent court; in 1823, only two years after his marriage, and in 1836. It is true he sometimes lost by his exhibitions, but he sometimes also gained large sums; as in 1820, when he made nearly £3000 by his picture of "Christ's entry into Jerusalem." Latterly he combined literature with painting; in 1840 he gave some gratuitous lectures on his art at the Ashmolean museum, Oxford, and from this time frequently delivered these lectures; they have been published, "Lectures on Painting and Design," 2 vols. 8vo, London, 1844-46. He published also in 1842, "Thoughts on the relative value of Fresco and Oil Painting, as applied to the Architectural Decorations of the Houses of Parliament." As regards Haydon's suicide, he seems to have contemplated on this matter some years before he destroyed himself. In his diary for July 9, 1841, is the following entry—"It may be laid down that self-destruction is the physical mode of relieving a diseased brain, because the first impression on a brain diseased, or diseased for a time, is the necessity for this horrid crime. There is no doubt of it." His own brain was diseased in the opinion of Dr. Elliotson and Mr. W. J. Bryant, who made a post-mortem examination of his head. Some have assumed Haydon to have been a martyr to the cause of high art; but his life is a contradiction of this. He had no enemy but himself; he was the victim of the impetuosity and inordinate vanity of his own mind. As a painter also he was impulsive and desultory, and neglected all the most essential and common elements of excellence in his execution. He was extremely mannered and disproportioned in his forms, and with the exception of a grand style of design, and a warm and powerful colouring, we miss in his works every requisite of a fine picture. Though he numbered at one time some of our most distinguished painters among his pupils, as Sir Charles Eastlake, Sir Edwin Landseer, and George Lance the fruit painter, he served rather as a warning to them than otherwise, showing them what to avoid rather than what to imitate, and his efforts have remained wholly without influence on the art of his time, though he was egotistical enough to consider nearly all progress to have proceeded from himself, and identified the fate of British art with that of his own efforts.—(See the Life of B. R. Haydon, Historical Painter, from his Autobiography and Journals, edited and compiled by Tom Taylor, &c., second edition, 3 vols. 8vo, Longman, 1853.)—R. N. W.
HAYLEY, William, was born at Chichester in 1745. After studying at Eton he graduated at Trinity college, Cambridge. He had already evinced poetic talents, and acquired some distinction by college exercises and occasional pieces both in English and Latin. In 1766 he entered the Middle temple, but abandoned legal studies for literary retirement at his paternal estate of Eastham in Surrey. His first attempt at public authorship was a drama, "The Afflicted Father," which Garrick received for performance, but finally rejected. In 1792 occurred an event which, perhaps, has done more to preserve his memory than any of his compositions—his intimacy with Cowper. Hayley was at the time preparing an edition of Milton's works, for which Cowper had also an engagement. Hayley wrote to Cowper inclosing a highly complimentary sonnet; a correspondence ensued, resulting in a lasting friendship, and, finally, in the publication by Hayley of the "Life, Works, and Letters of Cowper," in 1803. Hayley's name is also connected with that of the historian Gibbon, to whom he addressed three epistles, and his intimacy with whom subjected him unjustly to the suspicion of free-thinking. Hayley's works are numerous—dramatic, miscellaneous, on subjects of art, and poetical. Of the latter, "The Triumphs of Music," and "The Triumphs of Temper," will be remembered through the caustic, though not
