tales appeared in 1842. There was at this period an experiment of social, rural, and literary life undertaken by a community at Roxbury, joint occupants of a large farm, in the cultivation of which they all engaged, doing the whole work with their own hands, and carrying on at the same time their literary pursuits and speculations. Hawthorne joined this society for a season, but happily for himself and for his genius was drawn into an independent domestic circle of his own, through that power of individual attachment by which God setteth the solitary in families. He married a lady of his native town, and with her resided for some years in Concord, where he occupied a house, once the parsonage of the parish, which he has described in some of his papers from the magazines, to the collection of which he gave the title of "Mosses from an Old Manse." His retirement here was as close as ever his life had been in its secluded sensitive period at Salem, so that for three years he was hardly seen by a dozen of the townsmen. Here, however, he was accumulating the materials of his future works. In 1846 he was removed to Salem to fill for a year the office of surveyor in the customhouse at that place, and he afterwards wrote a graphic and most amusing account of his experiences while in that position, with sketches of the lives of some of his fellow-labourers. Here he wrote the work entitled "The Scarlet Letter," which raised the author's reputation at once to the highest point. This romance was followed in 1851 by a work of a similar character, entitled "The House of the Seven Gables," a half-allegorical story of retribution and crime, and expiatory processes and events, extending over a period of two hundred years; the scene is Salem. The work is one of great originality and power. "Grandfather's Chair," a series of Puritan stories for the young; "A Wonder Book for Boys and Girls;" and a volume of "Biographical Stories," all exquisitely wrought, added to the universal favour with which Hawthorne's productions were now received by old and young. At this time he purchased a residence in Concord, and the "Blithesdale Romance" was produced there. In 1852 Hawthorne executed a literary task of political value, to himself at least, in the life of Franklin Peirce, a candidate for the presidency. The consulship at Liverpool was bestowed upon Hawthorne, when his friend was elected president. In 1851 he published a new edition of his tales. Some of the most admirable exhibitions of his peculiar powers are to be found among his contributions to the Democratic Review, a periodical issued for a number of years in New York. It was in those pages that the exquisite allegory first appeared, entitled the "Celestial Rail Road," one of the most perfect pieces of satirical and supernatural romance in the language. Mr. Hawthorne's latest production was published in 1860, entitled "Transformation, or the romance of Monte Beni," a work of Italian life, scenery, and art—descriptive, suggestive, thoughtful, with all the author's admirable beauty of style, and originality, and power of conception and execution. This work is written in that exquisitely simple, easy, and graceful style, which characterizes all Mr. Hawthorne's productions, and entitles them to a high place in English literature. He died on the 19th of May. 1864.—G. B. C.
HAXO, François Nicolas Benoit, Baron, a French general of engineers, who served with great distinction in Italy under Bonaparte in the Peninsula and in Russia, was born at Luneville in 1774, and died in 1838.—W. J. P.
HAY, David Ramsay, distinguished for his efforts to raise the character of decorative painting, and for his writings on form and colour, was born at Edinburgh in 1798. Intended for a printer, he gave so much more of his mind to sketching dogs and horses than to the duties of the office, as to incur the displeasure of his employers, and lead to his abandonment of the printing business. He would fain have been an artist, but he had the good fortune to attract the notice of Sir Walter Scott, who (as is told at length in chapter lx. of Lockhart's Life), kindly conversed with him on the certain prospect of success, if he applied his taste for design to decorative art. The young man followed the advice, and was fully qualified by the time Scott had completed the first part of his house at Abbotsford to take charge of all the "limning and blazoning" of the interior. The fame of this work no doubt did much to secure his early success in business, but only by unusual ability and unwearied attention could the great establishment of which he was the head have grown up. Mr. Hay published in 1828 his first work, "The Laws of Harmonious Colouring," which was translated into German by L. Hüttman in 1834, and of which a sixth edition (with an additional section on the Practice of House-painting) appeared in 1847. His other works, which are very numerous, are devoted to the development of a numeral and geometrical theory of beauty in form and colour, as shown partly by an analysis of Greek sculpture and architecture, and partly by mathematical and general reasoning; the ultimate results being given in his "Science of Beauty, as developed in Nature and applied in Art," 8vo, 1856. Among his other works are an "Essay on Ornamental Design," 1845, and a valuable "Nomenclature of Colours," 1846. He died on the 10th of September, 1866.—J. T—e.
HAYDN, Franz Joseph, the renowned musician, was born at Rohrau, a village on the borders of Austria and Hungary, 31st March, 1732. His baptismal register of the day following led to the mistake, in which even he concurred, that this date, April 1, was his birthday; he died at Gumpendorf, a suburb of Vienna, 31st May, 1809. His father, Matthias, was a cartwright by trade, and sufficiently a musician to play the organ at church, and to accompany his wife's singing on the harp. Haydn's mother, Ann Marie, had been cook to the chief family in the village. On Sundays and saint-days this worthy pair used to divert themselves with music, and it was the delight of little Joseph, when he was five years old, to take part in their performances by pretending to play on a sham fiddle. A cousin of his father, named Frank, the schoolmaster of Hamburg, witnessed some of these family concerts, and perceived the boy's musical aptitude, from the certainty with which he beat time, and the correct intonation with which he joined in the song. He took the boy home with him, and not only instructed him in reading and writing, and the rudiments of Latin, but taught him to play on a real violin and several other instruments. In 1740 Renter, the kapellmeister of St. Stephen's at Vienna, made an excursion to seek for voices to recruit his choir; coming to Hamburg, he heard young Hadyn, was pleased with his precocious proficiency, and gladly engaged him. Besides singing in the service in public, the choir had to practise two hours daily. Beyond the fulfilment of these duties, Haydn had no occupation; but, as it seems, with no assistance from his master, he applied himself assiduously to the general study of music. When thirteen years old, being wholly untaught in the rules of composition, he wrote a mass, which, when he showed it to Reuter, this functionary ridiculed, as probably it deserved to be. Stimulated rather than discouraged by this mockery, he spent a few florins which he begged from his father to pay for mending his clothes, in the purchase of Fuchs' Gradus ad Parnassum, and Mattheson's Volkommener Kapellmeister, and ardently sought in these treatises for the principles which he had no teacher to explain to him. Hoping to arrive quickest at his end by commencing with the most difficult exercises, he at once began writing in sixteen parts; and when he laid his attempts before Reuter, he was again laughed at, and told to learn to write in two parts before he again essayed so large a score. Accounts differ as to the date and the cause of his quitting the cathedral. The likeliest appears to be, that in 1751, his voice being broken, he played the practical joke on another member of the choir of cutting off the tail of his wig; and the subject of this trick complained of it so loudly that poor Haydn was expelled at a moment's notice, and thus found himself suddenly thrown out of board and lodging and occupation, alone in the street, on a winter's night. The most probable story of his rescue from this dilemma is that Keller, a wigmaker, who rented a single room and a loft, invited Haydn to sleep in the latter, and offered him a place at his table. In this mean abode, with neither fireplace nor window, the young musician had the luxury of a harpsichord; and, when the weather was warm enough for him to be out of bed, he pursued his darling study with more earnestness than ever. The first six sonatas of Emanuel Bach now engaged his attention; and, while he practised them to exercise his fingers, he gleaned from them, as he used afterwards to declare, the principles of musical construction, for the development of which the art owes more to his subsequent exertions than to the labours of any other composer. He obtained some pupils, and wrote for their use six trios and some other instrumental pieces, which appear to have been his first completed productions. In this year, 1751, he brought out his first opera, "Der Krumme Teufel," for which he was paid twenty-four ducats, having been engaged to write it by the manager of one of the little theatres, who had become acquainted with his ability by hearing him with others perform in the street a serenade of
