“At the table of Mr. Wyatt,” says the Rev. J. Richardson in his Recollections (London, 1856), I met the late Mr. Haydon, the artist, with whom I had been previously acquainted. Haydon was undoubtedly a man of considerable talent, but of insatiable vanity. He had concentrated in his own estimation of his merits those atoms of admiration that ought to have been diffused among the general community, who were certainly somewhat slow in recognizing the claims which he was continually urging; indeed, they were far too slow to satisfy his craving for applause, and for a slice or two of that solid pudding which many people value much more than empty praise. The consequence was that he was continually indulging in querulous complaint and bitter vituperation; everybody was rewarded except himself; nobody but himself had any merit or capacity or feeling for Art. All the world were fools; he was the little bit of leaven that was to bring the solid lump into fermentation; the one wise man whose presence rescued the mass of mankind from unqualified insignificance and fatuity. This inordinate vanity overlaid the many good qualities which he possessed, blinded his perspicuity, and perverted his judgment.”
On 16 October, 1834, the Houses of Parliament were consumed by fire, and Barry was entrusted with designs for the erection of a new palace, which was begun in 1840. Now was the opportunity for which Haydon had yearned. The new Houses of Parliament must receive decoration in fresco. In 1842 a Fine Arts Commission issued a notice of conditions for a cartoon competition. Haydon welcomed this with delight. Who but he was competent to execute such great works? And he laboured hard at the study of fresco and in the preparation of cartoons. But he was disappointed at not being given the chief place, without question, in the decoration of the Houses.
“After thirty-eight years of bitter suffering,” he wrote, “perpetual struggle, incessant industry, undaunted perseverance, four imprisonments, three ruins, and five petitions to the House—never letting the subject of State support rest night or day, in prison or out; turning everything before the public—the wants of his family, the agonies of his wife, the oppression of the Academy, directing all to the great cause [of High Art], it is curious to see that the man who has got hold of the public heart, who is listened to and hailed by the masses—it is curious, as a bit of human justice, to find chairman, committee, witnesses, pupils, avoid throughout the whole inquiry any thought, word, or deed which could convey to a foreign nation or a native artist, a noble lord or an honourable member, that there was such a creature as Haydon on the earth!”
The opening of the Cartoon Exhibition was fixed for 3 July, 1843. Already, on 27 June, Haydon had received intelligence that his cartoons had been rejected. It was a bitter blow. But he struggled on till April, 1846, when he received another, that was final, and crushed his spirits. His cartoons should be seen and appreciated by the public. He hired a room in the Egyptian Hall, Piccadilly, in which to exhibit them, together with some of his historical paintings—“Aristides Banished from Naples,” “Nero Playing upon his Harp whilst Rome was Burning,” and some others. In the large front room of the Egyptian Hall, General Tom Thumb was holding his levees, and a swarm of people crowded to these, and very few looked in on Haydon’s exhibition.
In his diary he enters: “21 April. Tom Thumb had 12,000 people last week. B. R. Haydon 1331⁄2 (the 1⁄2 a little girl). Exquisite taste of the English people!”
He closed his exhibition on 18 May, and had lost by it £111 8s. 10d. He wrote: “I have not decayed, but the people have been corrupted. I am the same, they are not.”
This was a wound so severe to his vanity that it never healed. He abused the public, contrasting his own merits with those of his diminutive rival, and mixing up the sublime with the ridiculous in such a manner as to make his complaints the source of laughter rather than of commiseration. He was at some moments in so excited a condition from his own disappointment, contrasted with the success of the dwarf and the showman, that he appeared to his friends to be almost insane.
On 22 June he wrote in his diary the lines from Lear:—
Stretch me no longer on this rough world.
This was written between half-past ten and a quarter to eleven o’clock on that morning. He was in his studio. About a quarter to eleven his wife and daughter heard the report of firearms, but took little notice of it, as they supposed it to proceed from the troops then exercising in the Park. Mrs. Haydon went out. Miss Haydon entered the painting-room, and found her father stretched dead before the easel on which stood his unfinished picture of “King Alfred and the First English Jury”—his white hairs dabbled in blood, a half-open razor smeared with blood at his side, near it a small pistol recently discharged, in his throat a fearful gash, and a bullet-wound in his skull. A portrait of his wife stood on a smaller easel facing his large picture. On a table near was his diary open at the page of that last entry, his watch, and a Prayer Book open at the Gospel for the Sixth Sunday after the Epiphany, and his will.