Page:Dictionary of National Biography volume 25.djvu/298

H the Westminster Hospital in 1792, an office which he resigned in 1794. He was created a baronet on 6 Feb. 1797, and became inspector-general of the military department at Woolwich. Hayes died on 19 July 1809, aged 59, and was buried at St. James's, Piccadilly. He married, on 1 May 1787, Anne, eldest daughter of Henry White White, one of the council of New York. She died on 18 Jan. 1848, having had two sons and two daughters. Hayes's portrait by Medley was engraved by N. Branwhite. 

HAYES, MICHAEL ANGELO (1820–1877), painter, born in 1820 at Waterford, was son of Edward Hayes, a clever painter of portraits and miniatures, who also possessed some skill as a landscape-painter. Hayes first exhibited at the Royal Hibernian Academy's exhibition in Dublin in 1840, sending ‘The Deserter.’ He quickly gained a reputation for military subjects and others, in which horses took a prominent part, such as ‘The Race for the Corinthian Cup at Punchestown,’ and ‘Charge of the 3rd Light Dragoons at Moodkee.’ Large ceremonial subjects, like ‘The Installation of the Prince of Wales as a Knight of St. Patrick in St. Patrick's Cathedral, Dublin,’ also occupied him. He obtained a prize from the Irish Art Union for a set of drawings illustrating the ballad of ‘Savourneen Deelish.’ Hayes was in 1854 elected a member of the Royal Hibernian Academy, and in March 1856 was appointed secretary. In spite of an unfortunate schism in the Academy, Hayes retained the secretaryship, and published a pamphlet (Dublin, 1857) defending his position. Hayes was elected an associate member of the New Society of Water-colours in London, and was a regular contributor to their exhibitions. He was much respected in Dublin, and served the office of marshal of the city. On 31 Dec. 1877 he was accidentally drowned by falling into a tank on the top of his house at 4 Salem Place, Dublin. A picture by him of ‘Sackville Street, Dublin, Twenty-five Years Ago’ was at the Irish Exhibition in London, 1888. Another picture, ‘Wayside Country,’ was engraved by the National Art Union. 

HAYES, PHILIP (1738–1797), professor of music at Oxford, second son of Dr. William Hayes [q. v.], was born in April 1738. His natural taste for music was directed by his father, and he became a chorister at the Chapel Royal under Bernard Gates. He afterwards matriculated, on 3 May 1763, at Magdalen College, Oxford, where he took the degree of Mus.Bac. on 18 May of the same year. After acting for a short time (till 1765) as organist to Christ Church Cathedral, he became, on 30 Nov. 1767, gentleman of the Chapel Royal, and on 1 Jan. 1769 a member of the Royal Society of Musicians. Seven years later he succeeded Richard Church as organist of New College, Oxford; and in the next year, 1777, on his father's death, succeeded him as organist of Magdalen College, and professor of music to the university. On 6 Nov. of the same year he was created Mus.Doc. In 1790 he succeeded Thomas Norris, in whose favour he had been displaced at Christ Church in 1765, as organist to St. John's College. He died suddenly, on 19 March 1797, in London, whither he had come to preside at a festival performance in aid of the newly instituted Musical Fund, and was buried in St. Paul's. He enjoyed the reputation of possessing the largest person and the most unsociable temper in England. His portrait hangs in the Music School at Oxford.

His compositions include: ‘Six Concertos, with Accompaniments for Organ, Harpsichord, or Pianoforte, to which is added a Harpsichord Sonata,’ London, 1769; ‘Eight Anthems,’ Oxford, 1780; ‘Prophecy, an Oratorio,’ performed at a concert at Oxford commemoration in 1781; ‘Catches, Glees, and Canons for three, four, five, and six Voices,’ London, 1785; ‘An Ode performed in the Music School, Michaelmas Term, Cambridge, 1785, 4to;’ ‘Catches and Glees, the Muse's Tribute to Beauty,’ 1789; ‘Ode for St. Cecilia's Day;’ ‘Ode, Begin the Song!’ the words of which, by John Oldham, had been previously set by Dr. Blow in 1684; ‘Telemachus, a masque;’ accompaniments to ‘Fairest Isle,’ from Purcell's ‘King Arthur, and a number of separate anthems, songs, catches, and glees, including a setting of Shakespeare's ‘What shall he have that killed the deer,’ 1780.

He was the editor of ‘Harmonia Wiccamica,’ London, 1780—a collection of music sung at meetings of Wykehamists in London; of his father's ‘Cathedral Music in Score,’ Oxford, 1795; and of ‘Memoirs of Prince William Henry, Duke of Gloucester, from his birth, July 24th, 1689, to October 1697, from an original Tract, written by Jenkin Lewis, … and continued to the time of the Duke's Death, July 29th, 1700, from unquestionable authority, by the Editor,’ London, 1789 (Magdalen College Library).

Hayes presented a number of portraits and busts to the Oxford Music School. [Grove's Dict. of Music, i. 722; Gent. Mag. lxvii. 354; Appendix to Bemrose's Choir Chant