painted
the portrait which is now in Hampton Court; it was engraved by Facius in
1807. Later, Haydn went to Cambridge; then came his second series of
triumphs.

Even people who were supposed to be highly civilized showed at that
epoch a considerable degree of their ancestors' love of fighting, both
in London and in continental cities. Duels at the organ or piano, or on
the violin, were commonly arranged between rival virtuosi, and
art-matters were settled by votes, or by the stronger lungs or arms.
Haydn was not to be left in peace. The professional musicians gave some
concerts in opposition to Salomon's, and they imported Haydn's own
pupil, Pleyel, as their champion. But Pleyel, though noted in his day as
a teacher of the violin, and still remembered as the author of
elementary violin duets useful to beginners, was a gentle, kindly soul,
perfectly aware of Haydn's strength and his own weakness. Fight there
was none, for Haydn simply paid no attention: but it is good to know
that the two men remained friends. I do not remember that after this
another attempt was made to turn the concert-hall into a cockpit.

During this second season many of Haydn's works of all descriptions were
produced, and the concerts were as successful as those of the preceding
year. An event, which might have been far-reaching in its effects had it
happened earlier in his life, was his attendance at the Handel
Commemoration in Westminster Abbey. He must have known some of Handel's
oratorios, for Mozart had rescored them for van Swieten's concerts in
Vienna; now he heard for the first time how the giant could indeed smite
like a thunderbolt when he chose. However, during his next stay in
London he had fuller opportunities of listening to Handel, and we will
leave the matter until a few pages later. He attended about this time a
service of charity children in St. Paul's Cathedral, and was strangely
moved by a ridiculous old chant of Peter Jones, the effect being due, of
course, to the fresh children's voices. He remarked on it in his diary,
and wise commentators have pointed out that in writing the chant down he
"beautified" it with passing notes. Of course, all organists of the
period--and until a considerably later period--"beautified" everything
they played in precisely the same fashion, and naturally the children
would follow the organ. There remain to mention now only his friendship
with Bartolozzi the engraver, and Mrs. Hodges, "the lovelies