daughter in music, and to her lost his heart. But she had chosen to enter a convent, and, urged by gratitude and the persuasions of Keller, he transferred his proposal to her sister, and married her. She proved but a sorry match for the chapelmaster. She had few truly feminine qualities, and was disposed to squander Haydn's earnings. Morzin would have no married men in his orchestra, and Haydn was obliged to keep his marriage secret. It was during this year that Haydn wrote his first grand symphony for full orchestra. Before the winter of 1759-60 was over, which Morzin spent in Vienna, he found it necessary to reduce his expenses, and one step was to dismiss his orchestra. This was no loss to Haydn, for Prince Nicholas Esterhazy had heard his symphony and seen him at the head of the orchestra, and in March, 1760, appointed him to the position of vice chapelmaster, under the direction of his chapelmaster Gregorius Werner, at a salary of 400 florins, free lodging, &c. Before this year had passed the prince died, and his brother Nicholas succeeded to the principality. The new prince immediately appointed Haydn chapelmaster, at first with the same salary, but afterward raised at various times, until it reached 1,000 florins per annum. This position Haydn held without interruption until Esterhazy's death, full 30 years. Though his salary according to the ideas of our time was small, it was not thought so then; and to Haydn, who spent 8 or 9 months of the year at Eisenstadt or Esterhaz, the demesnes of the prince in Hungary, and but a few months in the winter season in Vienna, it was ample. The prince was ever ready with his purse, and thrice when Haydn's house in Eisenstadt was burned, Esterhazy rebuilt it at his own expense. In his will he gave Haydn a pension equal to his salary for life, and his successor, though he dismissed his orchestra, continued to Haydn his title of chapelmaster, and added 400 florins to his pension. The composer had free range of the fields and forests of the prince, and could gratify his passion for shooting and fishing to his heart's desire. It cost him little to live in the country, with no family but a wife and servant or two; and but for Frau Haydn's propensity to squander her husband's earnings, he might have saved a handsome share of his emoluments. Of his wife Haydn seldom spoke; but on one occasion near the close of her life, when Griesinger desired to make some return to Haydn for a favor for which he himself would accept nothing, and proposed to make his wife a present, Haydn replied: "She deserves nothing; and it is nothing to her whether her husband be a cobbler or an artist." A few lines from a French traveller who visited Esterhaz about 1782 are worth a place here: "The chateau stands quite solitary, and the prince sees nobody but his officials and servants, and strangers who are drawn hither from curiosity. He has a puppet theatre, which is certainly unique in character. Here the grandest operas are produced. One knows not whether to be

amazed or to laugh at seeing Alceste, Alcides, Al bivio, &c., put upon the stage with all due grandeur and played by puppets. His orchestra is one of the best I ever heard, and the great Haydn is his court and theatre composer. He employs a poet for his singular theatre, whose humor and skill in suiting the grandest subjects to his stage, and in parodying the gravest pieces, are often exceedingly happy. He often engages a troop of wandering players for months at a time, and he himself with a few officials and servants forms the entire audience. They are allowed to come upon the stage uncombed, drunk, their parts not half learned, and half dressed. The prince is not for the serious and the tragic, and he enjoys it when the players, like Sancho Panza, give loose reins to their humor." For this man, a passionate lover of music and a virtuoso on the baryton-an instrument in size between the viola and violoncello, with 7 strings of catgut over the bridge, and 16 of metal under it-the witty, jocose Haydn, ever ready with new and excellent music in which no tragic tones resounded, was just the man. Haydn said of him toward the close of his life: "My prince was satisfied with all my works; I received applause; as chief of the orchestra, I could try experiments, observe what produced the right effect and what weakened it; could therefore improve, add, cut out, venture. I was separated from the world, nobody to meddle with and plague me, and so I was perforce original." The demand upon him for church and instrumental music was constant; for theatrical music frequent; and the best of the year's productions in the country came in the winter to a hearing in Vienna before the highest musical circle in Europe. Thus 10 years had not passed since entering the service of Esterhazy before the name of Haydn had a European reputation, and the publishers of Leipsic, Berlin, Hamburg, and even of more distant cities, vied with those of Vienna in giving his works to the world. Anything like a complete catalogue of his compositions during these 30 years is impossible; much was lost when his houses were burned, much was scattered; but we know of 163 pieces for the baryton, from the solo with pianoforte to the octet and grand concerto; of symphonies for full orchestra, at least 4 per annum; of a score or two of masses and other works for divine service in the prince's chapel; of more than 100 works of chamber music of the higher forms, with an immense number of simpler construction. At least 12 Italian operas by him were performed in the private theatre, and 4 German operettas by the marionettes. The oratorio Il ritorno di Tobia was composed in 1774 for the "Musicians' Widows and Orphans Society" in Vienna, he being a candidate for admission. On learning that he must bind himself to compose for the society whenever called upon, he withdrew his score; and the society 18 years later was proud to elect him an honorary member. The fame of his Italian

operas procured him an order to compose one for the imperial opera house in Vienna. La vera constanza was written and accepted. Haydn had studied the capacities of the singers carefully, and adapted his parts with great skill to their various powers. The theatre was in the hands of the same Italians who had before succeeded in preventing the performance of the boy Mozart's La finta simplice, and it was enough to array them against Haydn, that he was a German. The one means in their power to kill the opera was to make an entire change in the distribution of the parts, and this they did. Saying, "I know what and for whom I wrote," Haydn took his score and returned to Eisenstadt. During the building of the new chateau at Esterhaz, the accommodations were so limited that the prince took with him of his orchestra but a few virtuosos, who were obliged to leave their families at Eisenstadt. Six months passed, and the young men, full of impatience to return, were astonished and despairing to learn that Esterhazy intended to prolong his stay two months. The young men came to Haydn praying him to find some means of changing the prince's determination. To have sent in a petition would only have brought upon him and them the laughter of their employer. Haydn composed a sextet, giving the first violin to the virtuoso Tomasini, whose playing would be sure to hold the prince until the close. At the performance one player after another ceased, blew out his candle, took his music and instrument, and silently left the room, until at length Tomasini alone remained, and he only to finish his part, when like the rest he put out his light and withdrew. "If they all go away, we must leave too," said Esterhazy. The performers had waited in an anteroom, and as the prince came through he said laughing: "Haydn, I understand it; the gentlemen can all leave tomorrow." This is Haydn's own account of the circumstance, which has been related with many changes and additions. The sextet was afterward developed into a symphony. In 1780 the philharmonic society of Modena sent Haydn a diploma as honorary member. In 1785 he received an order from Cadiz in Spain to compose a series of 7 adagios for orchestra, to be played in the principal church at the annual festival in commemoration of the crucifixion. To these 7 adagios were afterward adapted words founded upon the 7 phrases spoken by Christ upon the cross. As adagios, performed in a church lighted by a single lamp, the priests prostrate before the altar, and the multitude kneeling in silence, this music is, as Haydn himself declared, among the most successful of his compositions; although, as an oratorio sung in a concert room, it may fail of making any very favorable impression. Prince Nicholas Esterhazy died Sept. 28, 1790. His son and successor Anthony, not having the taste of his father, dismissed the orchestra, retaining Hadyn nominally as his chapelmaster. The composer was now free from all labor but that of composition, had a

handsome income secured to him, and, having made Vienna his permanent residence, occupied himself in laying plans for future works on a grander scale than any hitherto attempted. Thus only could he compete with the young Mozart, whom he loved as a son, but whose genius was a spur to the veteran. A few weeks after the death of Esterhazy a stranger entered the room of Haydn. "I am Salomon, of London," said he, "and come to take you thither; to-morrow we will strike a bargain." Salomon was a native of Bonn, but left that city early in life to enter the service of Prince Henry of Prussia, and in 1783 emigrated to London. He had repeatedly urged Haydn by letter in previous years to visit that city, and Prince Esterhazy was ready to give the necessary leave of absence; but Haydn was unable to make up his mind to accept the invitation. Gallini, the undertaker of the great professional concerts in Hanover square, with Salomon was upon the continent at this time engaging singers and virtuosos for the succeeding season. Salomon was already at Bonn on his way back to London, when he learned the death of Esterhazy, and immediately started for Vienna to engage Haydn. The composer hesitated long, but an offer of 3,000 florins for an Italian opera, and 100 florins for every new work which he should compose and direct in a series of 20 concerts the 5,000 florins to be deposited in a banking house upon his arrival in London-at length overcame his scruples, and on Dec. 15, 1790, he left Vienna. The arrival of the great composer in London then made such a sensation as that of a great songstress does now. The musical world received him with the highest degree of enthusiasm, which increased with each new work that he produced. Soon after the concerts began, a quarrel broke out between Gallini and Salomon on the one part, and the other directors of the concerts on the other, which resulted in driving the two from Hanover square to the Haymarket theatre. Haydn, having made his contract with Gallini, remained faithful to him notwithstanding the offer of a large sum from the other party. The public followed Haydn to the Haymarket, and the enterprise of Gallini and Salomon was successful. Haydn's first stay in London lasted 18 months. The principal works produced were: Orfeo (opera seria), 9 symphonies, a symphony concertante, "The Storm," a grand chorus with orchestra, 6 quartets, 11 sonatas, several beautiful songs and canzonets, and the arrangements to more than 100 Scotch songs. The Orfeo was not given because Gallini's license did not include operatic performances. In the summer of 1792 Haydn returned to Vienna, with a handsome sum saved from his earnings, and the fame of being (Mozart had died during his absence) the greatest of living composers. On Jan. 19, 1794, he left Vienna for a second visit to London, where he was received with no abatement of admiration and respect, and where he again remained a year and a half. His principal works were 3

symphonies, a large number of songs and airs, both with pianoforte and orchestral accompaniment, the Ten Commandments composed as canons, 24 minuets and German dances, 6 contre dances, 3 sonatas, an overture, ballads, &c. George III. and his queen endeavored to persuade him to remain in England; the university of Oxford created him doctor of music. All classes vied in testifying their admiration of his genius. His fame preceded him to Vienna, and soon after his return in 1795 he gave a concert, which was crowded to excess, wherein he produced his 3 new symphonies, and in which the young Beethoven appeared both as composer and virtuoso, and played his own first pianoforte concerto. Haydn was now in Vienna what he had been in London, the unrivalled master. His name as director of any of the great concerts for charitable purposes was enough to fill the house; his works cast all others into the shade. He had brought with him from London an English text for an oratorio, prepared by Linley, from Milton's "Paradise Lost," entitled the "Creation." Not venturing to compose so grand a work to an English text, he placed it in the hands of Baron van Swieten, son of the famous physician, who translated and arranged it in its present form. Twelve persons of the highest nobility subscribed to the amount of 500 ducats, which they offered him for a composition of the new text. Haydn accepted the proposition, and in the 65th year of his age he completed this magnificent work. It was first produced March 19, 1799. Its great success led Van Swieten to prepare another text from Thomson's "Seasons," which was composed within the next two years, and first produced at Vienna under the title of Die Jahreszeiten (the seasons), April 24, 1801. This labor had been too great for him-at all events, he had devoted himself to it too exclusively; and the barren, unpoetical text had been a source of great trouble and annoyance. Soon after finishing it he felt a feverish attack in his head, and from that time his strength, both mental and physical, sensibly failed. From this period to his death he spent most of his time in his house and garden, which had become one of the principal attractions to strangers in Vienna. On March 27, 1808, the now feeble old man was once more induced to appear in public. It was at a performance of the "Creation," in the great hall of the university. Haydn was received at the door by the rector of the university, Salieri, Beethoven, and other composers, by a director of the concert, and others of the nobility, and borne to a seat of honor by the side of the princess Esterhazy. At the famous passage, and there was light!" in the first chorus, the audience as usual burst into tumultuous applause. Haydn, waving his hand toward heaven, exclaimed: "It comes from there!" At the end of the first part he felt it necessary from his great weakness to leave the room; and as he was borne out in the great chair in which he had sat, he once more, with tearful eyes, turned VOL. VIII.-50

to the orchestra, and spread out his hands as if to bless them. It was his farewell act to the whole world. On May 10, 1809, early in the morning, a corps of the French army advanced toward the suburb Mariahilf of Vienna, not far from Haydn's house. His servants were engaged in getting him out of bed and dressing him when 4 cannon reports shook the house, and frightened the domestics. "Children,” said Haydn, "fear not; where Haydn is, no misfortune can befall you." But he had hardly spoken these brave words when he himself began to tremble violently. He now declined rapidly, and died May 31, in his 78th year.-Gerber's attempt to catalogue Haydn's works fills over 13 octavo pages of his Neues Lexikon, and is far from being complete. Haydn himself in 1805 was unable to give a complete list of his compositions; he could remember but 118 symphonies, yet Gerber had át that time the themes of 140. His compositions in England alone filled 768 leaves (1,536 pages) music folio. The following is an abstract of the list which he made out in 1805 for Prof. Bertuch, "of such as he could remember:" 118 symphonies, 83 quartets, 24 trios, 19 operas, 5 oratorios, 163 compositions for the baryton, 24 concertos for different instruments, 15 masses, 10 pieces of church music, 44 sonatas for pianoforte, with and without accompaniment, 42 German and Italian songs, 39 canons, 13 vocal pieces for 3 and 4 voices, 865 Scotch and English songs arranged with accompaniments, 40 divertimenti for from 3 to 9 instruments, 4 fantasias, capriccios, &c. Haydn will for ever fill a large space in musical history, not only for the magnitude, number, originality, and beauty of his compositions, but as being one of the small number who have made eras in the development of the art. He is the great mentor in the department of orchestral and chamber music-the father of the modern quartet and its kindred forms, and of the grand symphony. By this it is not meant that orchestras and small companies of performers on stringed instruments were unknown before his time, but that he, adopting the sonata form as perfected by Emanuel Bach and introducing it into compositions for the orchestra and chamber, laid the foundation for that wonderful development of instrumental music, exhibited in his own later compositions and in the works of Mozart, and which reached its climax in the musical "poems" of Beethoven. There are but two names in musical history for which this honor is claimed at the expense of Haydn's fame. The one, San Martini (Sammartini), belonged to the old Italian school, and if any of his instrumental works belong to the new era they are those of his later days, when Haydn's influence was already everywhere felt. But the fame of Haydn has hardly been seriously claimed for San Martini. Of the other, Boccherini, for whom more serious claims have been urged, it is sufficient to say that when Haydn's quartets were already becoming known and gaining him a reputation, Boccherini was a

child of 13 or 14 years; that Haydn was already in the service of Prince Esterhazy as chapelmaster, when Boccherini's opus I., Sei sinfonie, for two violins, alto and 'cello obbligato-that is, mere quartets-was written; that Boccherini's first work for more than 4 instruments a concerto (op. 8) for 6 instruments obbligati, and 6 ad lib.was not composed until 1769, before which date at least 18 of Haydn's symphonies and several of his quartets had been printed in Paris. Haydn thought it unfortunate that circumstances had led him so preponderantly into the field of instrumental composition, rather than into that of operatic writing. But in this no one, who is acquainted with his works at all extensively, can doubt he was in an error. He was of too happy a temperament to have touched the deep-toned harps of Handel, Gluck, Mozart, and Beethoven. For more than half a century music flowed from his pen in a continuous stream, always new, always attractive, always cheerful, always beautiful, often grand, sometimes reaching the sublime, but never betraying any touches of really tragic sorrow or grief. He was the musical apostle of the beautiful and the happy.-MICHAEL, a German composer, brother of the preceding, born in Rohrau, Sept. 16, 1737, died in Saltzburg, Aug. 18, 1808. He was educated in music by Reuter, and rose to eminence as an organist and composer, chiefly in consequence of his close study of the works of Fux, Bach, Handel, and Graun. He was chapelmaster at Grosswardein, in Hungary, and occupied the same position in the cathedral in Saltzburg, where he also established an excellent school of counterpoint. His works are numerous, and embrace operas, oratorios, masses, symphonies, and many other popular forms of vocal and instrumental composition; but they are little known in consequence of the reluctance of the author to have them published during his life. His brother Joseph considered him the best composer of sacred music of the day.

HAYDON, BENJAMIN ROBERT, an English historical painter, born in Plymouth, Jan. 25, 1786, died by his own hand in London, June 22, 1846. Disregarding the wishes of his father that he should adopt his own business, that of a bookseller, he went to London at the age of 18, and became a student in the school of the royal academy, where Wilkie and Jackson were his fellow pupils. He was an enthusiast in the pursuit of what is called "high art," and prosecuted his studies in drawing and anatomy with singular earnestness. His first picture, "Joseph and Mary resting with our Saviour after a Day's Journey on the Road to Egypt," an ambitious subject for a young man, was exhibited in 1807, and immediately purchased by Thomas Hope, the author of "Anastasius." This was followed by "Dentatus," a work which established his reputation, but involved him in a quarrel with the academy, whose hanging committee had placed the picture in a small side room. A fondness for controversy

led him to publish several attacks upon the academy, which had only the effect of estranging some of his most valuable friends, of exasperating his own temper, and of cutting him off from what was the chief ambition of his life— the honor of being an academician. From this time forward, notwithstanding the frequent production of eminent works, he had constantly to struggle with pecuniary difficulties. In 1815 he established a school, in opposition to that of the academy, in which, among others, the Landseers and Eastlake were instructed, and about the same time became associated in the conduct of a periodical entitled "Annals of the Fine Arts." Having no tact for either pursuit, he failed in each, and in 1823, two years after his marriage, was so involved in debt that he became an inmate of the king's bench prison, where he remained 2 months. Subsequently he painted here one of his most characteristic works, "The Mock Election," representing a scene which took place within the prison walls in July, 1827, and which was purchased by George IV. for 500 guineas. For his "Pharaoh and Moses," painted soon after his release, he obtained an equal sum. Notwithstanding these and similar emoluments, in 1836 he again became a prisoner for debt, but was soon after enabled to compound with his creditors. About this time he lectured on painting with considerable success, though with no permanent pecuniary benefit. Upon the publication by government of proposals for decorating the new houses of parliament with frescoes representing scenes in the history of the nation, Haydon, who had done more perhaps than any other man to secure this end, sent to the exhibition in Westminster hall two cartoons, "The Curse" and "Edward the Black Prince," not doubting that he would be one of the artists employed. No notice was taken of his performances, and his hope of executing some great public work of art was crushed for ever. To show the world how erroneous had been the decision of the judges, he commenced a series of gigantic pictures, including "Uriel and Satan," "Curtius Leaping into the Gulf," the "Burning of Rome," and the "Banishment of Aristides," the two latter of which, while on exhibition in London, attracted but 133 visitors during the time that Tom Thumb in an adjoining room received 120,000. Under the weight of this neglect and of pecuniary embarrassments his reason gave way, and while engaged on his last great picture, "Alfred and the Trial by Jury," he put an end to his life, having first written in his journal: "Stretch me no longer on this rough world." A post-mortem examination discovered a longseated disease of the brain, which may account for much of his eccentricity. His family were provided for by a public subscription. Haydon's autobiography, edited by Tom Taylor in 1853 (2d ed. 3 vols. 8vo.), lays bare the character of the man, and explains his unhappy career. His love of art was a passion rather than a principle. An impetuosity of temper, impa

tience of criticism, and an exaggerated estimate of his own powers and of his mission as the apostle of high art, were continually involving him in disputes. No man ever alienated more friends, and no man needed more the offices of friendship. At the same time he was a kind father and husband, and his journal, which comes down to the moment of his death, abounds in short occasional prayers of affecting earnestness. His works are characteristic. Often exaggerated in form and in feeling, they possess undoubted marks of genius, and are better appreciated now than during the life of the artist. His "Judgment of Solomon," "Christ's Entry into Jerusalem," "Christ Rejected," "Christ's Agony in the Garden," and "Raising of Lazarus," all painted previous to his first imprisonment for debt, and in the maturity of his artistic powers, are among the most favorable specimens of his style. Several of these pictures contain portraits of eminent personages, and the "Christ's Entry into Jerusalem" is now the property of the Catholic cathedral in Cincinnati. His literary efforts are confined chiefly to his "Lectures on Painting and Design" (2 vols. 8vo., 1844-'6), which are bold and clear expositions of the principles of art as he understood them. He also wrote the article on painting in the "Encyclopædia Britannica," and by his personal exertions induced the government to purchase the Elgin marbles.

HAYES, AUGUSTUS ALLEN, an American chemist, born in Windsor, Vt., Feb. 28, 1806. He was graduated at the military academy, Norwich, Vt., in 1823. On leaving this institution he began the study of chemistry as a profession, under Dr. James F. Dana, then professor of chemistry at the New Hampshire medical college. In 1825 a laborious research undertaken by him, for the purpose of more accurately determining the proximate composition of various American medicinal plants, was rewarded, among other results, by the discovery of the organic alkaloid sanguinaria, a compound remarkable for the brilliant colors of its salts, although itself colorless, or nearly so. In 1827, while filling the post of assistant professor of chemistry in the New Hampshire medical college, he investigated the compounds of chromium; and his paper on this subject, republished in Europe in 1828, was highly praised by Berzelius. Dartmouth college about the same time confered upon him an honorary degree of M.D. Since 1828 Dr. Hayes has resided in Boston or its vicinity, and has devoted his time to chemical investigations as varied as they have been important; sustaining also successively the posts of director of an extensive manufactory of colors and chemical products at Roxbury, Mass., and of consulting chemist or director of some of the most important dyeing, bleaching, gas, iron, and copper smelting establishments in New England. His published contributions to science during the same period have been numerous and valuable, and may be found chiefly in the "Proceedings" of the

American academy and of the Boston society of natural history, in the "American Journal of Science," and in the "Annual of Scientific Discovery." In 1837 he conducted an elaborate investigation upon the economical generation of steam and the relative value of fuels, which in 1838 led to a novel arrangement of steam boilers, now in general use; some of the results of this investigation are also embodied in the report of the late Walter R. Johnson to the U. S. government on the comparative value of various mineral coals. To Dr. Hayes belongs also the credit of the important application of the oxides of iron in refining pig iron in the puddling furnace, so as to produce without loss a pure malleable iron; and still earlier, the refining of copper was, under his direction, rendered a much shorter and more certain operation, by the introduction of the scales of oxide of copper produced in refining. Among other important original researches instituted and published by Dr. Hayes, may be mentioned those in relation to the chemical decomposition of alcohol by chlorine and the formation of chloroform; upon the action of alcohol upon the human system, and the demonstration of its invariable oxidation in the system into aldehyde, acetous and acetic acids; on the formation, composition, and specific differences of the varieties of guano; on the existence of a deposit of native iron on the west coast of Africa; and a memoir on the difference in the chemical constitution and action of sea waters, on and below the surface, on soundings, and at the entrances of rivers. This last research forms part of an investigation undertaken under a commission from the U. S. navy department to examine and report on the subject of copper and copper sheathing as applied in the construction of national vessels. The details of this investigation, which have not hitherto been published in full, and which have extended through a period of years, embody a vast amount of scientific and commercial information. Dr. Hayes holds the office of state assayer of Massachusetts.

HAYLEY, WILLIAM, an English author, born in Chichester in 1745, died in Felpham, Nov. 20, 1820. He was educated at Eton and Cambridge, and studied law, but being rich devoted himself to literature. In 1792 he made the acquaintance of Cowper, whose life he afterward wrote (1802). His "Triumphs of Temper," a poem in 6 cantos (1781), was perhaps the most popular of his poetical works. Among his other writings are an "Essay on Painting" (1778); "Essay on History" (1781); "Essay on Old Maids" (1785); and the "Life and Poetical Works of Milton” (1794).

HAYNAU, JULIUS JAKOB VON, an Austrian general, born in Cassel, Oct. 14, 1786, died in Vienna, March 14, 1853. He was an illegitimate son of the elector William I. of Hesse-Cassel. The latter, while stationed with his regiment in the town of Haynau in Prussian Silesia, formed an illicit connection with an apothecary's daughter named Rebekka Ritter, who after a morgan