In addition to the above examples, we may mention Hilton's _Serena rescued by the Red Cross Knight, Sir Calepine_, and _The Meeting of Abraham's Servant with Rebekah_ (National Gallery), and a triptych of _The Crucifixion_, which is at Liverpool. Most of Hilton's works are falling to decay through the use of asphaltum. BENJAMIN ROBERT HAYDON (1786--1846) was the son of a bookseller at Plymouth, and his "fitful life"--marked by "restless and importunate vanity"--was ended by his own act. Haydon refused to follow his father's business, and insisted on becoming a painter. Of his thoughts, hopes, and dreams, we have been well informed. He was in the habit of writing in an elaborate diary all that concerned himself. He came to London in 1804 with L20 in his pocket, entered the Academy schools, and worked there with vigour and self-reliance. Northcote did not encourage his enthusiastic countryman when he told him that as an historic painter "he would starve with a bundle of straw under his head." We admire the courage of Haydon in holding fast to the branch of art he had embraced, but his egotism fulfilled the prophecy of Northcote. When twenty-one, Haydon ordered a canvas for _Joseph and Mary resting on the Road to Egypt_, and he prayed over the blank canvas that God would bless his career, and enable him to create a new era in art. Lord Mulgrave became his patron, and this may have added to the painter's hopes. He painted _Dentatus_, and, intoxicated by flattery, believed the production of this his second work would mark "an epoch in English art." _Dentatus_, however, was hung in the ante-room of the Royal Academy, and coldly received. In 1810, he began _Lady Macbeth_ for Sir George Beaumont; quarrelling with his patron, he lost the commission, but worked on at the picture. Although deeply in debt, he quarrelled with those who would have been his friends. His _Judgment of Solomon_, a very fine picture, was painted under great difficulties and privations. West, the President, whom the painter accused of hostility to him, is said to have shed tears of admiration at the sight of this work, and sent Haydon a gift of L15. _Solomon_ was sold for 600 guineas, and the British Institution awarded another hundred guineas as a premium to its author. In 1820 Haydon produced _Christ's Entry into Jerusalem_, and during its progress he, as he recorded, "held intercourse only with his art and his Creator." This picture was exhibited at the Egyptian Hall, Piccadilly, and brought a large sum of money to the painter. Unsold in England, the work of which Haydon had expected much was purchased for L240, and sent to America. He established an Art school, where several able painters were trained, but the master was constantly in great pecuniary difficulties. In 1823, he exhibited the _The Raising of Lazarus_, containing twenty figures, each nine feet high, which is now in the National Gallery. Of this work Mr. Redgrave says: "The first impression