See also:

• BENJAMIN
• BENJAMIN, JUDAHPHILIP (1811-1884)

BENJAMIN See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

ROBERT See also:

• BENJAMIN ROBERT HAYDON (1786-1846)

HAYDON (1786-1846)  , See also:

• ENGLISH

English See also:

• HISTORICAL

historical painter and writer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• PLYMOUTH
• PLYMOUTH, EARLS OF

Plymouth on the 26th of See also:

• JANUARY

January 1786 . His See also:

• MOTHER

mother was the daughter of the Rev . See also:

• BENJAMIN
• BENJAMIN, JUDAHPHILIP (1811-1884)

Benjamin Cobley, See also:

• RECTOR (Lat. for " ruler," " guide," &c., from regere, " rule ")

rector of Dodbrook, See also:

• DEVON, EARLS OF

Devon, whose son, See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

General See also:

• SIR

Sir See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas Cobley, signalized himself in the See also:

• RUSSIAN

Russian service at the See also:

• SIEGE (0. Fr. sege, siege, mod. siege, seat, ultimately from sedere, to sit, cf. Class. Lat. obsidium, a siege)

siege of See also:

• ISMAIL (1830-1895)

Ismail . His See also:

• FATHER

father, a prosperous printer, stationer and publisher, was a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of See also:

• LITERARY

literary See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste, and was well known and esteemed amongst all classes in Plymouth . See also:

• HAYDON, BENJAMIN ROBERT (1786-1846)

Haydon, an only son, at an See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early date gave See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of his taste for study, which was carefully fostered and promoted by his mother . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of six he was placed in Plymouth See also:

• GRAMMAR (from Lat. grammatica, sc. ars; Gr. ypaµ)

grammar school, and at twelve in Plympton St See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary school . He completed his See also:

• EDUCATION

education in this institution, where Sir See also:

• JOSHUA, BOOK OF

Joshua See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds also had acquired all the scholastic training he ever received . On the See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling of the school-See also:

• ROOM

room was a See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch by Reynolds in burnt See also:

• CORK
• CORK (perhaps through Sp. corcha from Lat. cortex, bark, but possibly connected with quercus, oak)
• CORK, RICHARD BOYLE

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 See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea . A perusal of See also:

• ALBINUS (originally WEISS), BERNHARD SIEGFRIED (1697—1770)

Albinus, however, inspired him with a love for See also:

• ANATOMY
• ANATOMY (Gr. avaroyil, from ava-silo c', to cut up)

anatomy; and Reynolds's discourses revived within him a smouldering taste for See also:

• PAINTING

painting, which from childhood had been the absorbing idea of his mind . Sanguine of success, full of See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy and vigour, he started from the parental roof, on the 14th of May 1804, for See also:

• LONDON

London, and entered his name as a student of the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . He began and prosecuted his studies with such unwearied ardour that See also:

• FUSELI, HENRY (1741-1825)

Fuseli wondered when he ever found See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to eat .

At the age of twenty-one (1807) Haydon exhibited, for the first time, at the Royal Academy, " The Repose in See also:

• EGYPT

Egypt," which was bought by Mr Thomas See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

Hope the See also:

• YEAR

year after . This was a See also:

• GOOD, JOHN MASON (1764-1827)

good start for the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young artist, who shortly received a See also:

• COMMISSION (from Lat. commissio, committere)

commission from See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• MULGRAVE, EARLDOM OF

Mulgrave and an introduction to Sir See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George See also:

• BEAUMONT
• BEAUMONT, BELMONT, or BELLOMONT
• BEAUMONT, CHRISTOPHE DE (1703-1781)
• BEAUMONT, SIR JOHN (1583–1627)

Beaumont . In 1809 he finished his well-known picture of " See also:

• DENTATUS, MANIUS CURIUS

Dentatus," which, though it brought him a See also:

• GREAT

great increase of fame, involved him in a lifelong See also:

• QUARREL

quarrel with the Royal Academy, whose See also:

• COMMITTEE (from commute, an Anglo-Fr. past participle of commettre, Lat. committere, to entrust; the modern Fr. equivalent comite is derived from the Eng.)

committee had hung the picture in a small See also:

• SIDE
• SIDE (mod. Eski Adalia)

side-room instead of the great See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall . In 1810 his difficulties began through the stoppage of an See also:

• ALLOWANCE (from "allow,' derived through 0. Fr. alouer from the two Lat. origins adlaudare, to praise, and allocare, to assign a place; so that the English word combined the general idea of "assigning with approval")

allowance of zoo 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 " See also:

• MACBETH

Macbeth," and See also:

• PAYNE, PETER (c. 138o-1455)

Payne See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

Knight, who had denied the beauties as well as the See also:

• MONEY

money value of the See also:

• ELGIN

Elgin See also:

• MARBLES

Marbles . " The See also:

• JUDGMENT

Judgment of See also:

• SOLOMON, ODES OF
• SOLOMON, PSALMS OF

Solomon," his next See also:

• PRO

pro-duction, gained him loci, besides £10o voted to him by the See also:

• DIRECTORS

directors of the See also:

• BRITISH

British Institution, and the freedom of the See also:

• BOROUGH (A.S. nominative burh, dative byrig, which produces some of the place-names ending in bury, a sheltered or fortified place, the camp of refuge of a tribe, the stronghold of a chieftain; cf. Ger. Burg, Fr. bor, bore, bourg)
• BOROUGH [BURROUGH, BURROWE, BORROWS], STEVEN (1525–1584)

borough of Plymouth . To recruit his See also:

• HEALTH

health and See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape for a time from the cares of London See also:

• LIFE

life, Haydon joined his intimate friend See also:

• WILKIE, SIR DAVID (1785–1841)

Wilkie in a trip to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris; he studied at the Louvre; and on his return to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England produced his " See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ's Entry into See also:

• JERUSALEM (Heb. ^S0-r, Yerushalaim, pronounced as a dual)
• JERUSALEM, SYNOD OF (1672)

Jerusalem," which afterwards formed the See also:

• NUCLEUS (Lat. for the kernal of a nut, nux, the stone of fruit)

nucleus of the See also:

• AMERICAN

American See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery of Painting, erected by his See also:

• COUSIN (Fr. cousin, Ital. cugino, Late Lat. cosinus, perhaps a popular and familiar abbreviation of consobrinus, which has the same sense in classical Latin)
• COUSIN, JEAN (1500-1590)
• COUSIN, VICTOR (1792–1867)

cousin, See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Haviland of See also:

• PHILADELPHIA

Philadelphia . Whilst painting another large See also:

• WORK

work, the " Resurrection of See also:

• LAZARUS (a contracted form of the Heb. name Eleazar, " God has helped," Gr. Aiq-apos)
• LAZARUS, EMMA (1849–1887)
• LAZARUS, HENRY (1815–1895)
• LAZARUS, MORITZ (1824–1903)
• LAZARUS, ST, ORDER OF

Lazarus," his pecuniary difficulties increased, and for the first time he was arrested but not imprisoned, the See also:

• SHERIFF

sheriff-officer taking his word for his See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance . Amidst all these harassing cares he married in See also:

• OCTOBER

October 1821 a beautiful young widow who had some See also:

• CHILDREN, LAW RELATING TO

children, Mrs Hyman, to whom he was devotedly attached . In 1823 Haydon was lodged in the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King's See also:

• BENCH (an O.E. and Eng. form of a word common to Teutonic languages, cf. Ger. Bank, Dan. baenk and the Eng. doublet " bank ")

Bench, where he received consoling letters from the first men of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . Whilst a prisoner he See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew up a See also:

• PETITION (Lat. for " seeking " or " praying ")

petition to See also:

• PARLIAMENT (Anglo-Lat. parliamentum, Fr. parlement, from parler, to speak)

parliament in favour of the See also:

• APPOINTMENT, POWER OF

appointment of " a committee to inquire into the See also:

• STATE
• STATE, GREAT OFFICERS OF

state of encouragement of historical painting," which was presented by See also:

• BROUGHAM
• BROUGHAM, JOHN (1814-188o)

Brougham . He also, during a second imprisonment in 1827, produced the picture of the " See also:

• MOCK

Mock See also:

• ELECTION
• ELECTION (from Lat. eligere, to pick out)

Election," the idea of which had been suggested by an incident that happened in the See also:

• PRISON (derived through the Fr. from the Lat. prehensio, seizure)

prison .

The king (George IV.) gave him £500 for this work . Among Haydon's other pictures were—1829, " Eucles " and " See also:

• PUNCH

Punch "; 1831," See also:

• NAPOLEON

Napoleon at St See also:

• HELENA
• HELENA, ST (c. 247-c. 327)

Helena," for Sir See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• PEEL
• PEEL, ARTHUR WELLESLEY PEEL, 1ST VISCOUNT (1829- )
• PEEL, SIR ROBERT, BART

Peel; "See also:

• XENOPHON

Xenophon, on his See also:

• RETREAT (O. Fr. retrete, mod. retraite, from Lat. retrahere, to draw back)

Retreat with the ` Ten Thousand,' first seeing the See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

Sea "; and " Waiting for the Times," See also:

• PURCHASED

purchased by the See also:

• MARQUIS

marquis of See also:

• STAFFORD
• STAFFORD, EARLS AND MARQUESSES OF

Stafford; 1832, " Falstaff " and " See also:

• ACHILLES
• ACHILLES (Gr. 'AxtXXeus)

Achilles playing the See also:

• LYRE (Gr. Xupa)

Lyre." In 1834 he completed the " Reform Banquet," for Lord See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

Grey—this painting contained 197 portraits; in 1843, " See also:

• CURTIUS, ERNST (1814-1896)
• CURTIUS, MARCUS

Curtius Leaping into the Gulf," and " Uriel and Satan." There was also the " See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

Meeting of the See also:

• ANTI, or CAMPA

Anti-See also:

• SLAVERY

Slavery Society," energetically treated, now in the See also:

• NATIONAL

National Portrait Gallery . When the competition took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place at See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster Hall, Haydon sent two cartoons, " The Curse of See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam " and " See also:

• EDWARD

Edward the See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

Black See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince," but, with some unfairness, he was not allowed a See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize for either . He then painted " The Banishment of See also:

• ARISTIDES
• ARISTIDES ['Apuvrei817s] (c. 530—468 B.C.)
• ARISTIDES, AELIUS
• ARISTIDES, APOLOGY OF
• ARISTIDES, QUINTILIANUS

Aristides," which was exhibited with other productions under the same roof where the American See also:

• DWARF (A.S. dweorg, D. dwerg, Icel. dvergr)

dwarf Tom Thumb was then making his debut in London . The See also:

• EXHIBITION

exhibition was unsuccessful; and the artist's difficulties increased to such an extent that, whilst employed on his last See also:

• GRAND

grand effort, " See also:

• ALFRED

Alfred and the Trial by See also:

• JURY

Jury," overcome by See also:

• DEBT (Lat. debitum, a thing owed)

debt, disappointment and ingratitude, he wrote " Stretch me no longer on this rough See also:

• WORLD

world," and put an end to his existence with a See also:

• PISTOL

pistol-shot, on the 22nd of See also:

• JUNE

June 1846, in the sixty-first year of his age . He See also:

• LEFT

left a widow and three children (various others had died), who, by the generosity of their father's See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends, were rescued from their pecuniary difficulties and comfortably provided for; amongst the foremost of these friends were Sir Robert Peel, See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count D'Orsay, Mr See also:

• JUSTICE (Lat. justitia)

Justice See also:

• TALFOURD, SIR THOMAS NOON (1795-1854)

Talfourd and Lord See also:

• CARLISLE
• CARLISLE, EARLS OF

Carlisle . Haydon began his first lecture on painting and See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design in 1835, and afterwards visited all the See also:

• PRINCIPAL

principal towns in England and See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland . His delivery was energetic and imposing, his See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language powerful, flowing and See also:

• APT

apt, and replete with wit and See also:

• HUMOUR (Latin humor)

humour; and to look at the lecturer, excited by his subject, one could scarcely See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy him a man overwhelmed with difficulties and anxieties . The height of Haydon's ambition was to behold the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief buildings of his See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country adorned with historical representations of her See also:

• GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

glory . He lived to see the See also:

• ACKNOWLEDGMENT (from the old acknow, a compound of on- and know, to know by the senses, which passed through the forms oknow, aknow and acknow; acknowledge is formed on analogy of " knowledge ")

acknowledgment of his principles by See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government in the See also:

• ESTABLISHMENT (0. Fr. establissement, Fr. etablissement, late Norm. Fr. establishement, from O. Fr. establir, Fr. etablir, Lat. stabilire, to make stable)

establishment of schQols of design, and the embellishment of the new houses of parliament; but in the competition of artists for the carrying out of this See also:

• OBJECT

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 See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long and elaborate See also:

• ARTICLE (from Lat. articulus, a joint)

article, " Painting," in the 7th edition of the See also:

• ENCYCLOPAEDIA

Encyclopaedia Britannica .

To See also:

• FORM (Lat. forma)

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 See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power, and fascinating to the reader . The author seems to have daguerreotyped his feelings and sentiments without See also:

• RESTRAINT (from " to restrain," Lat. restringere, to hold back, prevent)

restraint as they See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose in his mind, and his portrait stands in these volumes limned to the life by his own See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . His love for his See also:

• ART

art was both a See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion and a principle . He found patrons difficult to See also:

• MANAGE

manage; and, not having the tact to See also:

• LEAD
• LEAD (pronounced iced)

lead them gently, he tried to drive them fiercely . He failed, abused patrons and patronage, and inter-mingled talk of the noblest See also:

• INDEPENDENCE
• INDEPENDENCE, DECLARATION OF
• INDEPENDENCE, WAR OF

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 See also:

• POWERS, HIRAM (1805-1873)

powers and in the ultimate See also:

• TRIUMPH (triumphus)

triumph of art . In taste he was deficient, at least as concerned himself . Hence the See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of self-assertion which he assumed in his advertisements, catalogues and other appeals to the public . He proclaimed himself the apostle and See also:

• MARTYR (Gr. pimp or µaprvs)

martyr of high art, and, not without some justice, he believed himself to have on that See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

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 See also:

• SHORT, FRANCIS JOB (1857– )

short prayers interspersed throughout the work . Haydon had an overwhelming sense of a See also:

• PERSONAL

personal, overruling and merciful See also:

• PROVIDENCE

providence, which influenced his relations with his See also:

• FAMILY

family, and to some extent with the world . His conduct as a See also:

• HUSBAND

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 See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

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 See also:

• PRACTICAL

practical work . His eager and combative See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

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 See also:

• WORKS

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 See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production, showing his executive power at its loftiest, and of itself enough to place Haydon at the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

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 See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

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 See also:

• GENIUS (from Lat. genere, gignere)

genius . The chief authorities for the life of Haydon are Life of B . R . Haydon, from his Autobiography and See also:

• JOURNALS

Journals, edited and compiled by Tom See also:

• TAYLOR
• TAYLOR, ANN (1782-1866)
• TAYLOR, BAYARD (1825–1878)
• TAYLOR, BROOK (1685–1731)
• TAYLOR, ISAAC (1787-1865)
• TAYLOR, ISAAC (1829-1901)
• TAYLOR, JEREMY (1613-1667)
• TAYLOR, JOHN (158o-1653)
• TAYLOR, JOHN (1704-1766)
• TAYLOR, JOSEPH (c. 1586-c. 1653)
• TAYLOR, MICHAEL ANGELO (1757–1834)
• TAYLOR, NATHANIEL WILLIAM (1786-1858)
• TAYLOR, PHILIP MEADOWS (1808–1876)
• TAYLOR, ROWLAND (d. 1555)
• TAYLOR, SIR HENRY (1800-1886)
• TAYLOR, THOMAS (1758-1835)
• TAYLOR, TOM (1817-1880)
• TAYLOR, WILLIAM (1765-1836)
• TAYLOR, ZACHARY (1784-1850)

Taylor (3 vols., 1853) ; and B .

R . Haydon's See also:

• CORRESPONDENCE
• CORRESPONDENCE (from med. scholastic Lat. correspondentia, corrcspondere, compounded of Lat. cum, with, and respond ere, to answer; cf. Fr. correspondance)

Correspondence and Table Talk, with a memoir by his son, F . W . Haydon (2 vols., 1876) . (W . M .