Part 45

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 "praised God with a cheerful heart" have been condemned by the severer decorum of our own day; of his oratorios the _Creation_ alone survives. In all these his work belongs mainly to the style and idiom of a bygone generation: they are monuments, not landmarks, and their beauty and invention seem rather to close an epoch than to inaugurate its successor. Even the naif pictorial suggestion, of which free use is made in the _Creation_ and in the _Seasons_, is closer to the manner of Handel than to that of the 19th century: it is less the precursor of romance than the descendant of an earlier realism. But as the first great master of the quartet and the symphony his claim is incontestable. He began, half-consciously, by applying through the fuller medium the lessons of design which he had learned from C. P. E. Bach's sonatas; then the medium itself began to suggest wider horizons and new possibilities of treatment; his position at Eisenstadt enabled him to experiment without reserve; his genius, essentially symphonic in character, found its true outlet in the opportunities of pure musical structure. The quartets in particular exhibit a wider range and variety of 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 E[flat], 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.

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 forty-three years, during which time he wrote over 360 compositions for the church and much instrumental music, which, though 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_.

BIBLIOGRAPHY.--S. Mayr, _Brevi notizie storiche della vita e delle opere di Giuseppe Haydn_ (1809); Griesinger, _Biographische Notizen uber Joseph Haydn_ (1810); Carpani, _Le Haydeni_ (1812 and 1823); Bombet (M. de Stendhal), _Vies de Haydn, de Mozart et de Metastase_ (Paris, 1854); Karajan, _Joseph Haydn in London_ (1861); C. F. Pohl, _Mozart und Haydn in London_ (1867); _Joseph Haydn_ (vol. i. 1875, vol. ii. 1882: this, the standard biography, was left unfinished at Dr Pohl's death and needs a third volume to complete it); article on Haydn in Grove's _Dictionary of Music and Musicians_; Fr. S. Kuhac, _Josip Haydn i Hravatske Narodne Popievke_ (Joseph Haydn and the Croatian Folk-songs) (Agram, 1880); A. Niggli, _Joseph Haydn, sein Leben und Werken_ (Basel, 1882); L. Nohl, _Biographie Haydns_ (Leipzig, Reclam); P. D. Townsend; _Joseph Haydn_ (London, 1884), Biography in H. Reimann's _Beruhmte Musiker_ (Berlin, 1898); J. C. Hadden, _Joseph Haydn_ (Great Musicians series) (London, 1902). To these should be added the list of Haydn's symphonies printed in Alfred Wotquenne's _Catalogue de la Bibliotheque du Conservatoire Royal de Bruxelles_, vol. ii. (1902). (W. H. Ha.)

HAYDON, BENJAMIN ROBERT (1786-1846), English historical painter and writer, was born at Plymouth on the 26th of January 1786. His mother was the daughter of the Rev. Benjamin Cobley, rector of Dodbrook, Devon, whose son, General Sir Thomas Cobley, signalized himself in the Russian service at the siege of Ismail. His father, a prosperous printer, stationer and publisher, was a man of literary taste, and was well known and esteemed amongst all classes in Plymouth. Haydon, an only son, at an early date gave evidence of his taste for study, which was carefully fostered and promoted by his mother. At the age of six he was placed in Plymouth grammar school, and at twelve in Plympton St Mary school. He completed his education in this institution, where Sir Joshua Reynolds also had acquired all the scholastic training he ever received. On the ceiling of the school-room was a sketch by Reynolds in burnt cork, which it used to be Haydon's delight to sit and contemplate. Whilst at school he had some thought of adopting the medical profession, but he was so shocked at the sight of an operation that he gave up the idea. A perusal of Albinus, however, inspired him with a love for anatomy; and Reynolds's discourses revived within him a smouldering taste for painting, which from childhood had been the absorbing idea of his mind.

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 L200 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 production, gained him L700, besides L100 voted to him by the 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.

In 1823 Haydon was lodged in the King's Bench, where he received consoling letters from the first men of the day. Whilst a prisoner he drew up a petition to parliament in favour of the appointment of "a committee to inquire into the state of encouragement of historical painting," which was presented by Brougham. He also, during a second imprisonment in 1827, produced the picture of the "Mock Election," the idea of which had been suggested by an incident that happened in the prison. The king (George IV.) gave him L500 for this work. Among Haydon's other pictures were--1829, "Eucles" and "Punch"; 1831, "Napoleon at St Helena," for Sir Robert Peel; "Xenophon, on his Retreat with the 'Ten Thousand,' first seeing the Sea"; and "Waiting for the _Times_," purchased by the marquis of Stafford; 1832, "Falstaff" and "Achilles playing the Lyre." In 1834 he completed the "Reform Banquet," for Lord Grey--this painting contained 197 portraits; in 1843, "Curtius Leaping into the Gulf," and "Uriel and Satan." There was also the "Meeting of the Anti-Slavery Society," energetically treated, now in the National Portrait Gallery. When the competition took place at Westminster Hall, Haydon sent two cartoons, "The Curse of Adam" and "Edward the Black Prince," but, with some unfairness, he was not allowed a prize for either. He then painted "The Banishment of Aristides," which was exhibited with other productions under the same roof where the American dwarf Tom Thumb was then making his debut in London. The exhibition was unsuccessful; and the artist's difficulties increased to such an extent that, whilst employed on his last grand effort, "Alfred and the Trial by Jury," overcome by debt, disappointment and ingratitude, he wrote "Stretch me no longer on this rough world," and put an end to his existence with a pistol-shot, on the 22nd of June 1846, in the sixty-first year of his age. He left a widow and three children (various others had died), who, by the generosity of their father's friends, were rescued from their pecuniary difficulties and comfortably provided for; amongst the foremost of these friends were Sir Robert Peel, Count D'Orsay, Mr Justice Talfourd and Lord Carlisle.

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 his autobiography. This is one of the most natural books ever written, full of various and abundant power, and fascinating to the reader. The author seems to have daguerreotyped his feelings and sentiments without restraint as they rose in his mind, and his portrait stands in these volumes limned to the life by his own hand. His love for his art was both a passion and a principle. He found patrons difficult to manage; and, not having the tact to lead them gently, he tried to drive them fiercely. He failed, abused patrons and patronage, and intermingled talk of the noblest independence with acts not always dignified. He was self-willed to perversity, but his perseverance was such as is seldom associated with so much vehemence and passion. With a large fund of genuine self-reliance he combined a considerable measure of vanity. To the last he believed in his own powers and in the ultimate triumph of art. In taste he was deficient, at least as concerned himself. Hence the tone of self-assertion which he assumed in his advertisements, catalogues and other appeals to the public. He proclaimed himself the apostle and martyr of high art, and, not without some justice, he believed himself to have on that account a claim on the sympathy and support of the nation. It must be confessed that he often tested severely those whom he called his friends. Every reader of his autobiography will be struck at the frequency and fervour of the short prayers interspersed throughout the work. Haydon had an overwhelming sense of a personal, overruling and merciful providence, which influenced his relations with his family, and to some extent with the world. His conduct as a husband and father entitles him to the utmost sympathy. In art his powers 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.)

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 of volunteers. While still in the field he was elected a member of the National House of Representatives, and took his seat in December 1865. He was re-elected in 1866, and supported the reconstruction measures advocated by his party. From 1868 to 1872 he was governor of Ohio. In 1873 he removed from Cincinnati to Fremont, his intention being to withdraw from public life; but in 1875 the Republican party in Ohio once more selected him as its candidate for the governorship. He accepted the nomination with great reluctance. The Democrats adopted a platform declaring in favour of indefinitely enlarging the volume of the irredeemable paper currency which the Civil War had left behind it. Hayes stoutly advocated the speediest practicable resumption of specie payments, and carried the election. The "sound-money campaign" in Ohio having attracted the attention of the whole country, Hayes was marked out as a candidate for the presidency, and he obtained the nomination of the Republican National Convention of 1876, his chief competitor being James G. Blaine. The candidate of the Democratic party, Samuel J. Tilden, by his reputation as a statesman and a reformer of uncommon ability, drew many Republican votes. An excited controversy having arisen about the result of the balloting in the states of South Carolina, Florida, Oregon and Louisiana, the two parties in Congress in order to allay a crisis dangerous to public peace agreed to pass an act referring all contested election returns to an extraordinary commission, called the "Electoral Commission" (q.v.), which decided each contest by eight against seven votes in favour of the Republican candidates. Hayes was accordingly on the 2nd of March 1877 declared duly elected.

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 custom-house 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 time by the Resumption Act of January 1875, opposition to it did not cease. A bill went through both Houses of Congress providing that a silver dollar should be coined of the weight of 412(1/2) grains, to be full legal tender for all debts and dues, public and private, except where otherwise expressly stipulated in the contract. President Hayes returned this bill with his veto, but the veto was overruled in both Houses of Congress. Meanwhile, however, the preparations for the return to specie payments were continued by the Administration with unflinching constancy and on the 1st of January 1879 specie payments were resumed without difficulty. None of the evils predicted appeared. A marked revival of business and a period of general prosperity ensued. In his annual message of the 1st of December 1879 President Hayes urged the suspension of the silver coinage and also the withdrawal of the United States legal tender notes, but Congress failed to act upon the recommendation. His administration also did much to ameliorate the condition of the Indian tribes and to arrest the spoliation of the public forest lands.

Although President Hayes was not popular with the professional politicians of his own party, and was exposed to bitter attacks on the part of the Democratic opposition on account of the cloud which hung over his election, his conduct of public affairs gave much satisfaction to the people generally. In the presidential election of 1880 the Republican party carried the day after an unusually quiet canvass, a result largely due to popular contentment with the then existing state of public affairs. On the 4th of March 1881 President Hayes retired to his home at Fremont, Ohio. Various universities and colleges conferred honorary degrees upon him. His remaining years he devoted to active

## participation in philanthropic enterprises; thus he served as president