Into the Gulf

Rosemary Hill

• A Sultry Month: Scenes of London Literary Life in 1846 by Alethea Hayter
  Robin Clark, 224 pp, £6.95, June 1992, ISBN 0 86072 146 9
• Painting and the Politics of Culture: New Essays on British Art 1700-1850 edited by John Barrell
  Oxford, 301 pp, £35.00, June 1992, ISBN 0 19 817392 X
• London: World City 1800-1840 edited by Celina Fox
  Yale, 624 pp, £45.00, September 1992, ISBN 0 300 05284 7

No one ever failed more completely to be the hero of his own life than the painter Benjamin Robert Haydon, for whom heroism was an obsession. He used his own head as a model for Christ, Solomon, Alexander and Marcus Curtius and believed that heroic history painting was the highest form of art. Today his only generally remembered work is a portrait of Wordsworth. In his lifetime Haydon was well-known and not without admirers but he was dogged increasingly by ridicule and failure. In 1846, after his designs for frescos in the Houses of Parliament had been rejected, he exhibited two of his massive historical paintings in the Egyptian Hall in Piccadilly. The public flocked to the building, but to see the midget, General Tom Thumb, who was being shown downstairs. On the first day Haydon attracted only four visitors. ‘I would not have believed it of the English people,’ he wrote in his journal, with that absence of insight or humour that makes him such a sad, and at the same time such a tiresome figure.