Page:Dictionary of National Biography volume 25.djvu/309

 Haynesworth For some time he travelled as tutor to James Cecil, sixth earl of Salisbury, who in 1737 presented him to the valuable rectory of Hatfield. In 1743 he became canon of Windsor, and in 1747 rector of Clothall, Hertfordshire, holding both livings until his death, which took place on 9 June 1752. Haynes was for some years engaged in preparing an edition of the valuable State Papers (preserved at Hatfield) which dealt with the career of William Cecil, lord Burghley. Oldys wrote in his ‘Diary’ on 5 Feb. 1737–8 that Haynes was then engaged on the work, ‘that he had two or three transcribers at work,’ and ‘intended to publish a volume at a time.’ On 26 March following Oldys discussed the work at Ames's house, and was invited to assist in the undertaking, but declined on the ground that many papers were to be ‘stifled’ because they dealt too freely with Elizabeth's ‘girlish frolics’ (, Diary, pp. 19, 26). The original design seems to have been to bring the work down to 1612. But Haynes completed only one volume, which was published, by subscription, under the title, ‘Collection of State Papers relating to Affairs in the Reigns of Henry VIII, Edward VI, Mary, and Elizabeth, from 1542 to 1570. Transcribed from the Original Letters and other Authentick Memorials left by W. Cecill, Lord Burghley, and now remaining at Hatfield House,’ London, 1740, fol. An edition by William Murdin, in 2 vols. fol., which brought the date of the published papers down to 1596, appeared in 1759. 

HAYNESWORTH, WILLIAM (fl. 1659), engraver, one of the earliest English engravers, is known by a fairly good engraved portrait of Richard Cromwell as lord protector. There are copies of this extremely scarce print in the print room at the British Museum and in the Sutherland Collection in the Bodleian Library at Oxford. Haynesworth also engraved a print of Geffroy de Lusignan, a copy from a similar engraving by Jerome David. 

HAYTER, CHARLES (1761–1835), miniature-painter, born on 24 Feb. 1761, was a son of Charles Hayter, an architect and builder in Hampshire. He was brought up to his father's profession, but, developing a talent for drawing small pencil portraits, devoted himself to miniature-painting, which he practised first in his native county, and afterwards in London. He earned a considerable reputation by his portraits in water-colours on ivory and in crayons on vellum, and was a constant exhibitor at the Royal Academy between 1786 and 1832. He gave lessons in perspective to the Princess Charlotte of Wales, and dedicated to her a useful work, published in 1813, ‘An Introduction to Perspective, adapted to the capacities of Youth, in a series of pleasing and familiar Dialogues,’ &c., which went through six editions, the last issued in 1845. In accepting the dedication, the princess authorised Hayter to style himself professor of perspective and drawing to her royal highness. He was also author of ‘A New Practical Treatise on the three Primitive Colours, assumed as a perfect System of Rudimental Information,’ &c., with coloured diagrams, London, 1826, 8vo. Hayter died in London on 1 Dec. 1835. He married in 1788 Martha Stevenson of Charing Cross, and was the father of Sir George Hayter [q. v.] and of John Hayter, at one time a fashionable portrait draughtsman in crayons, who was born in 1800, and still survives. 

HAYTER, GEORGE (1792–1871), portrait and historical painter, son of Charles Hayter [q. v.], miniature-painter, was born in St. James's Street, London, on 17 Dec. 1792. While very young he was admitted into the schools of the Royal Academy, and gained two medals for drawing from the antique. He was at sea in 1808, and rated as a midshipman in the royal navy, but he could not have remained very long in the service, for between 1809 and 1815 he exhibited at the Royal Academy several miniatures and portraits in chalk and crayons. In 1815 he was appointed ‘painter of miniatures and portraits to the Princess Charlotte and Prince Leopold of Saxe-Coburg,’ and received from the directors of the British Institution a premium of two hundred guineas for his picture of ‘The Prophet Ezra.’ In 1816 he went to Rome, where he studied for nearly three years, and was made a member of the Academy of St. Luke. On his return to London he commenced practice as a portrait-painter, and soon obtained a good position. In 1821 his works at the Royal Academy included ‘The