B. R.’s father had been a fast and dissipated man, but before he utterly sank past recovery, he pulled himself together and became a man of business, always somewhat shifty, and disposed to enjoy himself rather than stick to work. On one occasion the bookseller was asked angrily by a important customer why he had not fulfilled his oft-repeated promise to procure some young walnuts to which he had access, and his reply was that there had been such a demand for gun-stocks from the war then raging in the Peninsula that there were no trees left.
A somewhat congenial spirit came to Plymouth and settled into his house. This was a Mr. Cobley, brother of Mrs. Haydon, a man fond of society and of his bottle, accomplished, and so habitually indolent that when he came to see his sister on a six weeks’ visit he never had the energy to remove, got embedded in the family, stayed thirty years, and quitted it and life together.
B. R. does not appear to have had much love for his father, but he always speaks of his mother with the tenderest affection, and her opposition to her only boy’s choice of the profession of a painter cost him a severe struggle before he could disregard her entreaties to abide by his father’s trade.
Haydon was little more than a boy in years when he left home in May, 1804, and plunged into the uncertain depths of London life. He had an introduction to Northcote, a Devonshire man like himself, but jealous, spiteful, and unwilling to help a struggling beginner. And he was fortunate in attracting the notice of Fuseli, Keeper of the Royal Academy, who liked him, and helped him to master the rudiments of his profession.
Haydon admired the effects of London smoke.
“By Gode,” said Fuseli to him one day, “it’s like the smoke of the Israelites making bricks.” “It is grand,” retorted B. R., “for it is the smoke of a people who would have made the Egyptians make bricks for them.”
He became friendly with Wilkie, then a raw, red-headed Scotch lad, who had made a hit, and taken the town by storm with his “Village Politicians.”
David Wilkie was canny about money. One day he was showing his fellow pupils some drawing-paper he was using. “Why, Wilkie!” exclaimed Haydon, “where did you get this? Bring us a quire to-morrow.” He promised that he would. The next day, and the day after, no drawing-paper. When remonstrated with, David quietly excused himself, “Weel, weel, jest give me the money first, and ye’ll be sure to hae the paper.”
When thus starting as a painter, a hint was given to Haydon, by this success of Wilkie, what was the line that he should pursue, what was the style of picture that would appeal to the public. But he was too obstinate to take the hint. His idea was the High Art, heroic subjects from mythology or classic history, or from the Old Testament, on huge canvases—themes that interested few, and of a size that few could buy.