Birmingham, where he was employed on ornamental work. At the same time he excelled in other branches of the art, and was especially noted as a painter of still-life. He occasionally exhibited works at the Royal Academy from 1788 to 1804. Haughton was of a quiet and retiring disposition, and was not much known out of Birmingham. He resided for many years at Ashted, near Birmingham, and died on 24 Dec. 1804, aged 70. He was buried at Wednesbury, and a monument was erected to his memory in St. Philip's Church at Birmingham. He had a son, Matthew Haughton, who practised as an engraver.
[Redgrave's Dict. of Artists; Bryan's Dict. of Painters, ed. Graves; Gent. Mag. 1804 new ser. p. 1250, 1810 p. 415; Graves's Dict. of Artists, 1760–1880.]
HAUGHTON, MOSES, the younger (1772?–1848?), miniature-painter and engraver, nephew of Moses Haughton the elder [q. v.], was born at Wednesbury about 1772. He came to London to practise as an artist, became a pupil of George Stubbs, R.A., and a student of the Royal Academy. He practised as a portrait-painter, painting chiefly in miniature. Early in life he became a friend of Henry Fuseli, R.A. [q. v.], for whom he entertained a sincere admiration, and eventually resided with Fuseli in the keeper's apartments at Somerset House. He turned his attention to engraving, and under Fuseli's own superintendence executed several large engravings from Fuseli's most important pictures, notably, ‘Sin pursued by Death,’ ‘Ugolino,’ ‘The Dream of Eve,’ ‘The Nursery of Shakespeare,’ ‘The Lazarhouse,’ &c. He thus helped to perpetuate his master's fleeting popularity. He painted a well-known miniature of Fuseli, which has been often engraved, and another of Mrs. Fuseli, who after her husband's death became for some years an inmate of Haughton's household. Haughton was a frequent exhibitor at the Royal Academy from 1808 to 1848, after which he is lost sight of. Two miniature paintings by him, ‘The Love Dream’ and ‘The Captive,’ were engraved by R. W. Sievier, and other portraits by him were also engraved. He was married, and left a family.
[Redgrave's Dict. of Artists; Knowles's Life of Fuseli; Fuseli's works in the print room of the British Museum; Royal Academy Catalogues; private information.]
HAUGHTON, WILLIAM (fl. 1598), dramatist, is identified in Cooper's ‘Athenæ Cantabrigienses’ (ii. 399) with a William Haughton, M.A., of Oxford, who was incorporated in that degree at Cambridge in 1604, but the identification is doubtful. The earliest mention of him in Henslowe's ‘Diary’ (p. 104) is under date 5 Nov. 1597, when he is described as ‘yonge Horton.’ Only one play of which he was sole author is extant, ‘English-Men for my Money: Or, A Woman will have her Will,’ 1616, 4to, reprinted in 1626 and 1631; included in the ‘Old English Drama,’ 1830, and in Hazlitt's edition of Dodsley's collection. From Henslowe's ‘Diary’ (pp. 119, 122) it appears that this merry rollicking comedy was written early in 1598. In August 1599 Haughton was at work upon a lost play, ‘The Poor Man's Paradise’ (ib. p. 155); and later in the year he joined John Day in writing the ‘Tragedy of Merry’ and ‘Cox of Collumpton’ (both lost); had a share with Dekker and Chettle in ‘Patient Grissil’ (printed in 1603), and with Chettle alone in ‘The Arcadian Virgin’ (not printed). In the following February he was engaged with Day and Dekker on ‘The Spanish Moor's Tragedy’ (not printed), which has been hastily identified with ‘Lust's Dominion;’ and in March the same authors, joined by Chettle, were at work on ‘The Seven Wise Masters’ (not printed). During part of March Haughton was imprisoned in the Clink (doubtless for debt), and Henslowe advanced ten shillings to procure his discharge. On 18 March he was employed on ‘Ferrex and Porrex,’ probably an alteration of Sackville and Norton's tragedy, and in April he was preparing the ‘English Fugitives’ (not printed). In May he received five shillings from Henslowe ‘in earnest of a Boocke which he wold calle the “Devell and his Dame”’ (ib. p. 169), which has been rashly identified with ‘Grim, the Collier of Croydon,’ first printed in 1662; in the same month he wrote ‘Strange News out of Poland’ (not printed) with a ‘Mr. Pett,’ and began single-handed a play called ‘Indes’ or ‘Judas’ (not printed). He was writing ‘Roben hoode's penerthes’ (‘Robin Hood's Pennyworths’) in December 1600 and January 1601; later in 1601 he joined Day in ‘The Second and Third Parts’ (not printed) of ‘The Blind Beggar of Bethnal Green,’ ‘The Six Yeomen of the West’ (not printed), ‘The Proud Woman of Antwerp and Friar Rush’ (not printed), and ‘The Second Part of Tom Dough’ (not printed). ‘The Conquest of the West Indies’ (not printed) was written with Day and Wentworth Smith, and the two parts of ‘The Six Clothiers’ (not printed) with Hathway and Smith. We do not hear of Haughton after September 1602, when he was engaged on ‘a playe called “Cartwright.”’
In ‘Annals of the Careers of W. Hough-
