The thing we should lament is rather that the world which refused, neglected, forgot him--and by chance-medley was right, was right!--had no possible authority for anything that it did against him, and that he might have sent it to school, for all his defect of genius;moreover, that he was mortally wounded in the last of his forty years of battle by this ironic wound: among the bad painters chosen to adorn the Houses of Parliament with fresco, he was not one. This affront he took at the hands of men who had no real distinctions in their gift. He might well have had, by mere chance, some great companion with whom to share that rejection. The unfortunate man had no such fortuitous fellowship at hand. How strange, the solitude of the bad painter outcast by the worst, and capable of ****** common cause indomitably with the good, had there been any such to take heart from his high courage!
There was none. There were ranged the unjust judges with their blunders all in good order, and their ignorance new dressed, and there was no artist to destroy except only this one, somewhat better than their favoured, their appointed painters in fresco; one uncompanioned, and a man besides through whose heart the public reproach was able to cut keenly.
Is this sensibility to be made a reproach to Haydon? It has always seemed to me that he was not without greatness--yet he was always without dignity--in those most cruel passages of his life, such as that of his defeat, towards the close of his war, by the show of a dwarf, to which all London thronged, led by Royal example, while the exhibition of his picture was deserted. He was not betrayed by anger at this end of hopes and labours in which all that a man lives for had been pledged. Nay, he succeeded in bearing what a more inward man would have taken more hardly. He was able to say in his loud voice, in reproach to the world, what another would have barred within: one of his great pictures was in a cellar, another in an attic, another at the pawnbroker's, another in a grocer's shop, another unfinished in his studio; the bills for frames and colours and the rent were unpaid. Some solace he even found in stating a few of these facts, in French, to a French official or diplomatic visitor to London, interested in the condition of the arts. Well, who shall live without support? A man finds it where he can.
After these offences of self-will and vanity Tom Taylor finds us some other little thing--I think it is inaccuracy. Poor Haydon says in one phrase that he paid all his friends on such a day, and in another soon following that the money given or lent to him had been insufficient to pay them completely; and assuredly there are many revisions, after-thoughts, or other accidents to account for such a slip. His editor says the discrepancy is "characteristic," but Iprotest I cannot find another like it among those melancholy pages.
If something graver could but be sifted out from all these journals and letters of frank confession, by the explainer! Here, then, is the last and least: Haydon was servile in his address to "men of rank." But his servility seems to be very much in the fashion of his day--nothing grosser; and the men who set the fashion had not to shape their style to Haydon's perpetual purpose, which was to ask for commissions or for money.
Not the forsaken man only but also the fallen city evokes this exercise of historical morality, until a man in flourishing London is not afraid to assign the causes of the decay of Venice; and there is not a watering place upon our coasts but is securely aware of merited misfortune on the Adriatic.
Haydon was grateful, and he helped men in trouble; he had pupils, and never a shilling in pay for teaching them. He painted a good thing--the head of his Lazarus. He had no fault of theory: what fault of theory can a man commit who stands, as he did, by "Nature and the Greeks"? In theory he soon outgrew the Italians then most admired; he had an honest mind.
But nothing was able to gain for him the pardon that is never to be gained, the impossible pardon--pardon for that first and last mistake--the mistake as to his own powers. If to pardon means to dispense from consequence, how should this be pardoned? Art would cease to be itself, by such an amnesty.
