became known as _The Oxford_, though it had been written long before.
Prince Anton had invited him to return, but as Haydn had entered into a
second contract with Salomon he contrived somehow to prolong his stay in
England. The Prince of Wales had just got married, and invited Haydn to
stay with him a few days--presumably to cheer him during the honeymoon.
So they made music together; Haydn even obliged his hostess by singing
with a voice which is said to have been like a crow's. Hoppner 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