HADDON HALL, one of the most famous ancient mansions in England. It lies on the left bank of the river Wye, 2 m. S.E. of Bakewell in Derbyshire. It is not now used as a residence, but the fabric is maintained in order. The building is of stone and oblong in form, and encloses two quadrangles separated by the great banqueting-hall and adjoining chambers. The greater part is of two storeys, and surmounted by battlements. To the south and south-east lie terraced gardens, and the south front of the eastern quadrangle is occupied by the splendid ball-room or long gallery. At the south-west corner of the mansion is the chapel; at the north-east the Peveril tower. The periods of building represented are as follows. Norman work appears in the chapel (which also served as a church for the neighbouring villagers), also in certain fundamental parts of the fabric, notably the Peveril tower. There are Early English and later additions to the chapel; the banqueting-hall, with the great kitchen adjacent to it, and part of the Peveril tower are of the 14th century. The eastern range of rooms, including the state-room, are of the 15th century; the western and north-western parts were built shortly after 1500. The ball-room is of early 17th-century construction, and the terraces and gardens were laid out at this time. A large number of interesting contemporary fittings are preserved, especially in the banqueting-hall and kitchen; and many of the rooms are adorned with tapestries of the 16th and 17th centuries, some of which came from the famous works at Mortlake in Surrey.
A Roman altar was found and is preserved here, but no trace of Roman inhabitants has been discovered. Haddon was a manor which before the Conquest and at the time of the Domesday Survey belonged to the king, but was granted by William the Conqueror to William Peverel, whose son, another William Peverel, forfeited it for treason on the accession of Henry II. Before that time, however, the manor of Haddon had been granted to the family of Avenell, who continued to hold it until one William Avenell died without male issue and his property was divided between his two daughters and heirs, one of whom married Richard Vernon, whose successors acquired the other half of the manor in the reign of Edward III. Sir George Vernon, who died in 1561, was known as the “King of the Peak” on account of his hospitality. His daughter Dorothy married John Manners, second son of the earl of Rutland, who is said to have lived for some time in the woods round Haddon Hall, disguised as a gamekeeper, until he persuaded Dorothy to elope with him. On Sir George’s death without male issue Haddon passed to John Manners and Dorothy, who lived in the Hall. Their grandson John Manners succeeded to the title of earl of Rutland in 1641, and the duke of Rutland is still lord of the manor.
See Victoria County History, Derbyshire; S. Rayner, History and Antiquities of Haddon Hall (1836-1837); Haddon Hall, History and Antiquities of Haddon Hall (1867); G. le Blanc Smith, Haddon, the Manor, the Hall, its Lords and Traditions (London, 1906).
HADEN, SIR FRANCIS SEYMOUR (1818-1910), English surgeon and etcher, was born in London on the 16th of September 1818, his father, Charles Thomas Haden, being a well-known doctor and amateur of music. He was educated at University College school and University College, London, and also studied at the Sorbonne, Paris, where he took his degree in 1840. He was admitted as a member of the College of Surgeons in London in 1842. Besides his many-sided activities in the scientific world, during a busy and distinguished career as a surgeon, he followed the art of original etching with such vigour that he became not only the foremost British exponent of that art but was the principal cause of its revival in England. By his strenuous efforts and perseverance, aided by the secretarial ability of Sir W. R. Drake, he founded the Royal Society of Painter-Etchers and Engravers. As president he ruled the destinies of that society with a strong hand from its first beginnings in 1880. In 1843-1844, with his friends Duval, Le Cannes and Col. Guibout, he had travelled in Italy and made his first sketches from nature. Haden attended no art school and had no art teachers, but in 1845, 1846, 1847 and 1848 he studied portfolios of prints belonging to an old second-hand dealer named Love, who had a shop in Bunhill Row, the old Quaker quarter of London. These portfolios he would carry home, and arranging the prints in chronological order, he studied the works of the great original engravers, Dürer, Lucas van Leyden and Rembrandt. These studies, besides influencing his original work, led to his important monograph on the etched work of Rembrandt. By lecture and book, and with the aid of the memorable exhibition at the Burlington Fine Arts Club in 1877, he endeavoured to give a just idea of Rembrandt’s work, separating the true from the false, and giving altogether a nobler idea of the master’s mind by taking away from the list of his works many dull and unseemly plates that had long been included in the lists. His reasons are founded upon the results of a study of the master’s works in chronological order, and are clearly expressed in his monograph, The Etched Work of Rembrandt critically reconsidered, privately printed in 1877, and in The Etched Work of Rembrandt True and False (1895). Notwithstanding all this study of the old masters of his art, Haden’s own plates are perhaps more individual than any artist’s, and are particularly noticeable for a fine original treatment of landscape subjects, free and open in line, clear and well divided in mass, and full of a noble and dignified style of his own. Even when working from a picture his personality dominates the plate, as for example in the large plate he etched after J. M. W. Turner’s “Calais Pier,” which is a classical example of what interpretative work can do in black and white. Of his original plates, more than 250 in number, one of the most notable was the large “Breaking up of the Agamemnon.” An early plate, rare and most beautiful, is “Thames Fisherman.” “Mytton Hall” is broad in treatment, and a fine rendering of a shady avenue of yew trees leading to an old manor-house in sunlight. “Sub Tegmine” was etched in Greenwich Park in 1859; and “Early Morning—Richmond,” full of the poetry and freshness of the hour, was done, the artist has said, actually at sunrise. One of the rarest and most beautiful of his plates is “A By-Road in Tipperary”; “Combe Bottom” is another; and “Shere Mill Pond” (both the small study and the larger plate), “Sunset in Ireland,” “Penton Hook,” “Grim Spain” and “Evening Fishing, Longparish,” are also notable examples of his genius. A catalogue of his works was begun by Sir William Drake and completed by Mr N. Harrington (1880). During later years Haden began to practise the sister art of mezzotint engraving, with a measure of the same success that he had already achieved in pure etching and in dry-point. Some of his mezzotints are: “An Early Riser,” a stag seen through the morning mists, “Grayling Fishing” and “A Salmon Pool on the Spey.” He also produced some remarkable drawings of trees and park-like country in charcoal.
Other books by Haden not already mentioned are—Études à l’eau forte (Paris, 1865); About Etching (London, 1878-1879); The Art of the Painter-Etcher (London, 1890); The Relative Claims of Etching and Engraving to rank as Fine Arts and to be represented in the Royal Academy (London, 1883); Address to Students of Winchester School of Art (Winchester, 1888); Cremation: a Pamphlet (London, 1875); and The Disposal of the Dead, a Plea for Legislation (London, 1888). As the last two indicate, he was an ardent champion of a system of “earth to earth” burial.
Among numerous distinctions he received the Grand Prix, Paris, in 1889 and 1900, and was made a member of the Institut de France, Académie des Beaux-Arts and Société des Artistes Français. He was knighted in 1894, and died on the 1st of June 1910. He married in 1847 a sister of the artist J. A. M. Whistler; and his elder son, Francis Seymour Haden (b. 1850), had a distinguished career as a member of the government in Natal from 1881 to 1893, being made a C.M.G. in 1890.
(C. H.*)
HADENDOA (from Beja Hada, chief, and endowa, people), a nomad tribe of Africans of “Hamitic” origin. They inhabit that part of the eastern Sudan extending from the Abyssinian frontier northward nearly to Suakin. They belong to the Beja people, of which, with the Bisharin and the Ababda, they are the modern representatives. They are a pastoral people, ruled by a hereditary chief who is directly responsible to the (Anglo-Egyptian) Sudan government. Although the official capital of the Hadendoa country is Miktinab, the town of Fillik on an affluent of the Atbara is really their headquarters. A third of the total population is settled in the Suakin country. Osman Digna, one of the best-known chiefs during the Madhia, was a Hadendoa, and the tribe contributed some of the fiercest of the dervish warriors in the wars of 1883-98. So determined were they in their opposition to the Anglo-Egyptian forces that the name Hadendoa grew to be nearly synonymous with “rebel.” But this was the result of Egyptian misgovernment rather than religious enthusiasm; for the Hadendoa are true Beja, and Mahommedans only in name. Their elaborate hairdressing gained them the name of “Fuzzy-wuzzies” among the British troops. They earned an unenviable reputation during the wars by their hideous mutilations of the dead on the battlefields. After the reconquest of the Egyptian Sudan (1896-98) the Hadendoa accepted the new order without demur.