HAYASHI HAYDN

narriage turned out ill and he was shortly afterwards separated

praised God with a cheerful heart" have been condemned from his wife, though he continued to support her until her death by the severer decorum of our own day; of his oratorios the in 1800. From 1760 to 1790 he remained with the Esterhazys, | Creation alone survives. In all these his work belongs mainly principally at their country-seats of Esterház and Eisenstadt, to the style and idiom of a bygone generation: they are monuwith occasional visits to Vienna in the winter. In 1762 Princements, not landmarks, and their beauty and invention seem Paul Esterhazy died and was succeeded by his brother Nicholas, rather to close an epoch than to inaugurate its successor. Even surnamed the Magnificent, who increased Haydn's salary, the naïf pictorial suggestion, of which free use is made in the showed him every mark of favour, and, on the death of Werner Creation and in the Seasons, is closer to the manner of Handel in 1766, appointed him Oberkapellmeister. With the encourage- than to that of the 19th century: it is less the precursor of ment of a discriminating patron, a small but excellent orchestra romance than the descendant of an earlier realism. But as the and a free hand, Haydn made the most of his opportunity and first great master of the quartet and the symphony his claim produced a continuous stream of compositions in every known is incontestable. He began, half-consciously, by applying musical form. To this period belong five Masses, a dozen through the fuller medium the lessons of design which he had operas, over thirty clavier-sonatas, over forty quartets, over a learned from C. P. E. Bach's sonatas; then the medium itself hundred orchestral symphonies and overtures, a Stabat Mater, began to suggest wider horizons and new possibilities of treata set of interludes for the service of the Seven Words, an Oratorio ment; his position at Eisenstadt enabled him to experiment Tobias written for the Tonkünstler-Societät of Vienna, and a without reserve; his genius, essentially symphonic in character, vast number of concertos, divertimenti and smaller pieces, among found its true outlet in the opportunities of pure musical structure. which were no less than 175 for Prince Nicholas' favourite The quartets in particular exhibit a wider range and variety of instrument, the baryton. structural invention than those of any other composer except Beethoven. Again it is here that we can most readily trace the important changes which he wrought in melodic idiom. Before his time instrumental music was chiefly written for the Paradiesensaal, and its melody often sacrificed vitality of idea to a ceremonial courtliness of phrase. Haydn broke through this convention by frankly introducing his native folk-music, and by writing many of his own tunes in the same direct, vigorous and simple style. The innovation was at first received with some disfavour; critics accustomed to polite formalism censured it as extravagant and undignified; but the freshness and beauty of its melody soon silenced all opposition, and did more than anything else throughout the 18th century to establish the principle of nationalism in musical art. The actual employment of Croatian folk-tunes may be illustrated from the string quartets Op. 17, No. 1; Op. 33. No. 3; Op. 50, No. 1; Op. 77, No. 1, and the Salomon Symphonies in D and Eb, while there is hardly an instrumental composition of Haydn's in which his own melodies do not show some traces of the same influence. His natural idiom in short was that of a heightened and ennobled folk-song, and one of the most remarkable evidences of his genius was the power with which he adapted all his perfection and symmetry of style to the requirements of popular speech. His music is in this way singularly expressive; its humour and pathos are not only absolutely sincere, but so outspoken that we cannot fail to catch their significance.

Meanwhile his reputation was spreading throughout Europe. A Viennese notice of his appointment as Oberkapellmeister spoke of him as "the darling of our nation," his works were reprinted or performed in every capital from Madrid to St Petersburg. He received commissions from the cathedral of Cadiz, from the grand duke Paul, from the king of Prussia, from the directors of the Concert Spirituel at Paris; beside his transactions with Breitkopf and Härtel, and with La Chevardière, he sold to one English firm the copyright of no less than 129 compositions. But the most important fact of biography during these thirty years was his friendship with Mozart, whose acquaintance he made at Vienna in the winter of 1781-1782. There can have been little personal intercourse between them, for Haydn was rarely in the capital, and Mozart seems never to have visited Eisenstadt; but the cordiality of their relations and the mutual influence which they exercised upon one another are of the highest moment in the history of 18th-century music. "It was from Haydn that I first learned to write a quartet," said Mozart; it was from Mozart that Haydn learned the richer style and the fuller mastery of orchestral effect by which his later symphonies are distinguished.

In 1790 Prince Nicholas Esterhazy died and the Kapelle was disbanded. Haydn, thus released from his official duties, forthwith accepted a commission from Salomon, the London concertdirector, to write and conduct six symphonies for the concerts in the Hanover Square Rooms. He arrived in England at the beginning of 1791 and was welcomed with the greatest enthusiasm, receiving among other honours the degree of D Mus. from the university of Oxford. In June 1792 he returned home, and, breaking his journey at Bonn, was presented with a Cantata by Beethoven, then aged two-and-twenty, whom he invited to come to Vienna as his pupil. The lessons, which were not very successful, lasted for about a year, and were then interrupted by Haydn's second visit to England (January 1794 to July 1795), where he produced the last six of his "Salomon " symphonies. From 1795 onward he resided in the Mariahilf suburb of Vienna, and there wrote his last eight Masses, the last and finest of his chamber works, the Austrian national anthem (1797), the Creation (1799) and the Seasons (1801). His last choral composition which can be dated with any certainty was the Mass in C minor, written in 1802 for the name-day of Princess Esterhazy. Thenceforward his health declined, and his closing years, surrounded by the love of friends and the esteem of all musicians, were spent almost wholly in retirement. On the 27th of March 1808 he was able to attend a performance of the Creation, given in his honour, but it was his last effort, and on the 31st of May 1809 he died, aged seventy-seven. Among the mourners who followed him to the grave were many French officers from Napoleon's army, which was then occupying Vienna.

Haydn's place in musical history is best determined by his instrumental compositions. His operas, for all their daintiness and melody, no longer hold the stage; the Masses in which he

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In the development of instrumental polyphony Haydn's work was almost as important as that of Mozart. Having at his disposal a band of picked virtuosi he could produce effects as different from the tentative experiments of C. P. E. Bach as these were from the orchestral platitudes of Reutter or Hasse. His symphony Le Midi (written in 1761) already shows a remarkable freedom and independence in the handling of orchestral forces, and further stages of advance were reached in the oratorio of Tobias, in the Paris and Salomon symphonies, and above all in the Creation, which turns to good account some of the debt which he owed to his younger contemporary. The importance of this lies not only in a greater richness of musical colour, but in the effect which it produced on the actual substance and texture of composition. The polyphony of Beethoven was unquestionably influenced by it and, even in his latest sonatas and quartets, may be regarded as its logical outcome.

The compositions of Haydn include 104 symphonies, 16 overtures, 76 quartets, 68 trios, 54 sonatas, 31 concertos and a large number of divertimentos, cassations and other instrumental pieces; 24 operas and dramatic pieces, 16 Masses, a Stabat Mater, interludes for the "Seven Words," 3 oratorios, 2 Te Deums and many smaller pieces for the church, over 40 songs, over 50 canons and arrangements of Scottish and Welsh national melodies.

His younger brother, JOHANN MICHAEL HAYDN (1737-1806), was also a chorister at St Stephen's, and shortly after leaving the choir-school was appointed Kapellmeister at Grosswardein (1755) and at Salzburg (1762). The latter office he held for fortythree years, during which time he wrote over 360 compositions

for the church and much instrumenta! music, which, though | duction, gained him £700, besides £100 voted to him by the unequal, deserves more consideration than it has received. He was the intimate friend of Mozart, who had a high opinion of his genius, and the teacher of C. M. von Weber. His most important works were the Missa hispanica, which he exchanged for his diploma at Stockholm, a Mass in D minor, a Lauda Sion, a set of graduals, forty-two of which are reprinted in Diabelli's Ecclesiasticon, three symphonies (1785), and a string quintet in C major which has been erroneously attributed to Joseph Haydn. Another brother, JOHANN EVANGELIST HAYDN (1743-1805), gained some reputation as a tenor vocalist, and was for many years a member of Prince Esterhazy's Kapelle.

directors of the British Institution, and the freedom of the borough of Plymouth. To recruit his health and escape for a time from the cares of London life, Haydon joined his intimate friend Wilkie in a trip to Paris; he studied at the Louvre; and on his return to England produced his "Christ's Entry into Jerusalem," which afterwards formed the nucleus of the American Gallery of Painting, erected by his cousin, John Haviland of Philadelphia. Whilst painting another large work, the Resurrection of Lazarus," his pecuniary difficulties increased, and for the first time he was arrested but not imprisoned, the sheriff-officer taking his word for his appearance. Amidst all these harassing cares he married in October 1821 a beautiful young widow who had some children, Mrs Hyman, to whom he was devotedly attached.

BIBLIOGRAPHY.-S. Mayr, Brevi notizie storiche della vita e delle opere di Giuseppe Haydn (1809); Griesinger, Biographische Notizen über Joseph Haydn (1810); Carpani, Le Haydeni (1812 and 1823); Bombet (M. de Stendhal), Vies de Haydn, de Mozart et de Métastase In 1823 Haydon was lodged in the King's Bench, where he (Paris, 1854); Karajan, Joseph Haydn in London (1861); C. F. Pohl, received consoling letters from the first men of the day. Whilst Mozart und Haydn in London (1867); Joseph Haydn (vol. i. 1875, a prisoner he drew up a petition to parliament in favour of the vol. ii. 1882 this, the standard biography, was left unfinished at appointment of "a committee to inquire into the state of enDr Pohl's death and needs a third volume to complete it); article couragement of historical painting," which was presented by on Haydn in Grove's Dictionary of Music and Musicians; Fr. S. Kuhač, Josip Haydn i Hravatske Narodne Popievke (Joseph Haydn Brougham. He also, during a second imprisonment in 1827, and the Croatian Folk-songs) (Agram, 1880); A. Niggli, Joseph produced the picture of the " Mock Election," the idea of which Haydn, sein Leben und Werken (Basel, 1882); L. Nohl, Biographie had been suggested by an incident that happened in the prison. Haydns (Leipzig, Reclam); P. D. Townsend; Joseph Haydn The king (George IV.) gave him £500 for this work. Among (London, 1884), Biography in H. Reimann's Berühmte Musiker (Berlin, 1898); J. C. Hadden, Joseph Haydn (Great Musicians series) Haydon's other pictures were-1829, "Eucles " and " Punch "; (London, 1902). To these should be added the list of Haydn's sym- 1831," Napoleon at St Helena," for Sir Robert Peel; "Xenophonies printed in Alfred Wotquenne's Catalogue de la Bibliothèque phon, on his Retreat with the Ten Thousand,' first seeing du Conservatoire Royal de Bruxelles, vol. ii. (1902). (W. H. HA.) the Sea"; and "Waiting for the Times," purchased by the HAYDON, BENJAMIN ROBERT (1786-1846), English marquis of Stafford; 1832, "Falstaff" and "Achilles playing historical painter and writer, was born at Plymouth on the the Lyre." In 1834 he completed the "Reform Banquet," for 26th of January 1786. His mother was the daughter of the Lord Grey-this painting contained 197 portraits; in 1843, Rev. Benjamin Cobley, rector of Dodbrook, Devon, whose son, "Curtius Leaping into the Gulf," and " Uriel and Satan." General Sir Thomas Cobley, signalized himself in the Russian There was also the "Meeting of the Anti-Slavery Society," service at the siege of Ismail. His father, a prosperous printer, energetically treated, now in the National Portrait Gallery. stationer and publisher, was a man of literary taste, and was When the competition took place at Westminster Hall, Haydon well known and esteemed amongst all classes in Plymouth. sent two cartoons, The Curse of Adam" and "Edward the Haydon, an only son, at an early date gave evidence of his Black Prince," but, with some unfairness, he was not allowed taste for study, which was carefully fostered and promoted by a prize for either. He then painted "The Banishment of Arishis mother. At the age of six he was placed in Plymouth tides," which was exhibited with other productions under the grammar school, and at twelve in Plympton St Mary school. same roof where the American dwarf Tom Thumb was then He completed his education in this institution, where Sir Joshua making his début in London. The exhibition was unsuccessful; Reynolds also had acquired all the scholastic training he ever and the artist's difficulties increased to such an extent that, received. On the ceiling of the school-room was a sketch by whilst employed on his last grand effort, Alfred and the Trial Reynolds in burnt cork, which it used to be Haydon's delight by Jury," overcome by debt, disappointment and ingratitude, to sit and contemplate. Whilst at school he had some thought he wrote "Stretch me no longer on this rough world," and put of adopting the medical profession, but he was so shocked at an end to his existence with a pistol-shot, on the 22nd of June the sight of an operation that he gave up the idea. A perusal 1846, in the sixty-first year of his age. He left a widow and three of Albinus, however, inspired him with a love for anatomy; children (various others had died), who, by the generosity of and Reynolds's discourses revived within him a smouldering their father's friends, were rescued from their pecuniary diffitaste for painting, which from childhood had been the absorbing culties and comfortably provided for; amongst the foremost idea of his mind. of these friends were Sir Robert Peel, Count D'Orsay, Mr Justice Talfourd and Lord Carlisle.

Sanguine of success, full of energy and vigour, he started from the parental roof, on the 14th of May 1804, for London, and entered his name as a student of the Royal Academy. He began and prosecuted his studies with such unwearied ardour that Fuseli wondered when he ever found time to eat. At the age of twenty-one (1807) Haydon exhibited, for the first time, at the Royal Academy, " The Repose in Egypt," which was bought by Mr Thomas Hope the year after. This was a good start for the young artist, who shortly received a commission from Lord Mulgrave and an introduction to Sir George Beaumont. In 1809 he finished his well-known picture of "Dentatus," which, though it brought him a great increase of fame, involved him in a lifelong quarrel with the Royal Academy, whose committee had hung the picture in a small side-room instead of the great hall. In 1810 his difficulties began through the stoppage of an allowance of £200 a year he had received from his father. His disappointment was embittered by the controversies in which he now became involved with Sir George Beaumont, for whom he had painted his picture of " Macbeth," and Payne Knight, who had denied the beauties as well as the money value of the Elgin Marbles. "The Judgment of Solomon," his next pro

Haydon began his first lecture on painting and design in 1835, and afterwards visited all the principal towns in England and Scotland. His delivery was energetic and imposing, his language powerful, flowing and apt, and replete with wit and humour; and to look at the lecturer, excited by his subject, one could scarcely fancy him a man overwhelmed with difficulties and anxieties. The height of Haydon's ambition was to behold the chief buildings of his country adorned with historical representations of her glory. He lived to see the acknowledgment of his principles by government in the establishment of schools of design, and the embellishment of the new houses of parliament; but in the competition of artists for the carrying out of this object, the commissioners (amongst whom was one of his former pupils) considered, or affected to consider, that he had failed. Haydon was well versed in all points of his profession; and his Lectures, which were published shortly after their delivery, showed that he was as bold a writer as painter. It may be mentioned in this connexion that he was the author of the long and elaborate article, "Painting," in the 7th edition of the Encyclopaedia Britannica.

To form a correct estimate of Haydon it is necessary to read | of volunteers. While still in the field he was elected a member his autobiography. This is one of the most natural books ever of the National House of Representatives, and took his seat in written, full of various and abundant power, and fascinating December 1865. He was re-elected in 1866, and supported the to the reader. The author seems to have daguerreotyped his reconstruction measures advocated by his party. From 1868 to feelings and sentiments without restraint as they rose in his 1872 he was governor of Ohio. In 1873 he removed from mind, and his portrait stands in these volumes limned to the Cincinnati to Fremont, his intention being to withdraw from life by his own hand. His love for his art was both a passion public life; but in 1875 the Republican party in Ohio once more and a principle. He found patrons difficult to manage; and, selected him as its candidate for the governorship. He accepted not having the tact to lead them gently, he tried to drive them the nomination with great reluctance. The Democrats adopted fiercely. He failed, abused patrons and patronage, and inter- a platform declaring in favour of indefinitely enlarging the mingled talk of the noblest independence with acts not always volume of the irredeemable paper currency which the Civil War dignified. He was self-willed to perversity, but his perseverance had left behind it. Hayes stoutly advocated the speediest was such as is seldom associated with so much vehemence and practicable resumption of specie payments, and carried the passion. With a large fund of genuine self-reliance he combined election. The sound-money campaign" in Ohio having a considerable measure of vanity. To the last he believed in his attracted the attention of the whole country, Hayes was marked own powers and in the ultimate triumph of art. In taste he was out as a candidate for the presidency, and he obtained the deficient, at least as concerned himself. Hence the tone of self- nomination of the Republican National Convention of 1876, his assertion which he assumed in his advertisements, catalogues chief competitor being James G. Blaine. The candidate of the and other appeals to the public. He proclaimed himself the Democratic party, Samuel J. Tilden, by his reputation as a statesapostle and martyr of high art, and, not without some justice, he man and a reformer of uncommon ability, drew many Republican believed himself to have on that account a claim on the sympathy votes. An excited controversy having arisen about the result of and support of the nation. It must be confessed that he often the balloting in the states of South Carolina, Florida, Oregon tested severely those whom he called his friends. Every reader of and Louisiana, the two parties in Congress in order to allay a his autobiography will be struck at the frequency and fervour crisis dangerous to public peace agreed to pass an act referring of the short prayers interspersed throughout the work. Haydon all contested election returns to an extraordinary commission, had an overwhelming sense of a personal, overruling and merciful | called the " Electoral Commission" (q.v.), which decided each providence, which influenced his relations with his family, contest by eight against seven votes in favour of the Republican and to some extent with the world. His conduct as a husband candidates. Hayes was accordingly on the 2nd of March 1877 and father entitles him to the utmost sympathy. In art his powers declared duly elected. and attainments were undoubtedly very great, although his actual performances mostly fall short of the faculty which was manifestly within him; his general range and force of mind were also most remarkable, and would have qualified him to shine in almost any path of intellectual exertion or of practical work. His eager and combative character was partly his enemy; but he had other enemies actuated by motives as unworthy as his own were always high-pitched and on abstract grounds laudable. Of his three great works-the "Solomon," the Entry into Jerusalem " and the "Lazarus "—the second has generally been regarded as the finest. The "Solomon " is also a very admirable production, showing his executive power at its loftiest, and of itself enough to place Haydon at the head of British historical painting in his own time. The Lazarus (which belongs to the National Gallery, but is not now on view there) is a more unequal performance, and in various respects open to criticism and censure; yet the head of Lazarus is so majestic and impressive that, if its author had done nothing else, we must still pronounce him a potent pictorial genius. The chief authorities for the life of Haydon are Life of B. R. Haydon, from his Autobiography and Journals, edited and compiled by Tom Taylor (3 vols., 1853); and B. R. Haydon's Correspondence and Table Talk, with a memoir by his son, F. W. Haydon (2 vols., 1876). (W. M. R.)

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HAYES, RUTHERFORD BIRCHARD (1822-1893), nineteenth president of the United States, was born in Delaware, Ohio, on the 4th of October 1822. He received his first education in the common schools, graduated in 1842 at Kenyon College, Gambier, Ohio, and was a student at the law school of Harvard University from 1843 until his graduation in 1845. He was admitted to the bar in 1845, and practised law, first at Lower Sandusky (now Fremont), and then at Cincinnati, where he won a very respectable standing, and in 1858-1861 served as city solicitor. In politics he was at first an anti-slavery Whig and then from the time of its organization in 1854 until his death was a member of the Republican party. In December 1852 he married Lucy Ware Webb of Chillicothe, Ohio, who survived him. After the breaking out of the Civil War the governor of Ohio, on the 7th of June 1861, appointed him a major of a volunteer regiment, and in July he was sent to western Virginia for active service. He served throughout the war, distinguished himself particularly at South Mountain, Winchester, Fisher's Hill and Cedar Creek, and by successive promotions became a brigadier-general of volunteers and, by brevet, a major-general

During his administration President Hayes devoted his efforts mainly to civil service reform, resumption of specie payments and the pacification of the Southern States, recently in rebellion. In order to win the co-operation of the white people in the South in maintaining peace and order, he put himself in communication with their leaders. He then withdrew the Federal troops which since the Civil War had been stationed at the southern State capitals. An end was thus made of the carpet-bag governments " conducted by Republican politicians from the North, some of which were very corrupt, and had been upheld mainly by the Federal forces. This policy found much favour with the people generally, but displeased many of the Republican politicians, because it loosened the hold of the Republican party upon the Southern States. Though it did not secure to the negroes sufficient protection in the exercise of their political rights, it did much to extinguish the animosities still existing between the two sections of the Union and to promote the material prosperity of the South. President Hayes endeavoured in vain to induce Congress to appropriate money for a Civil Service Commission; and whenever he made an effort to restrict the operation of the traditional "spoils system," he met the strenuous opposition of a majority of the most powerful politicians of his party. Nevertheless the system of competitive examinations for appointments was introduced in some of the great executive departments in Washington, and in the custom-house and the post-office in New York. Moreover, he ordered that "no officer should be required or permitted to take part in the management of political organizations, caucuses, conventions or election campaigns," and that no assessment for political purposes on officers or subordinates should be allowed "; and he removed from their offices the heads of the post-office in St Louis and of the customhouse in New York-influential party managers on the ground that they had misused their official positions for partisan ends. In New York the three men removed were Chester A. Arthur, the collector; Alonzo B. Cornell, the naval officer of the Port; and George H. Sharpe, the surveyor of the customs. While these measures were of limited scope and effect, they served greatly to facilitate the more extensive reform of the civil service which subsequently took place, though at the same time they alienated a powerful faction of the Republican party in New York under the leadership of Roscoe Conkling. Although the resumption of specie payments had been provided for, to begin at a given