It is in this year that we find the first mention in the Journal of
Wordsworth, who, throughout his life, was one of Haydon's most
faithful friends and appreciative admirers. On April 13, the artist
records: 'I had a cast made yesterday of Wordsworth's face. He bore it
like a philosopher.... We afterwards called on Hunt, and as Hunt had
previously attacked him, and now has reformed his opinions, the
meeting was interesting. Hunt paid him the highest compliments, and
told him that as he grew wiser and got older, he found his respect for
his powers, and enthusiasm for his genius, increase.... I afterwards
sauntered with him to Hampstead, with great delight. Never did any man
so beguile the time as Wordsworth. His purity of heart, his kindness,
his soundness of principle, his information, his knowledge, and the
intense and eager feelings with which he pours forth all he knows,
affect, interest, and enchant one. I do not know any one I would be so
inclined to worship as a purified being.'

The new picture was not far advanced before the painter was once again
at the end of his resources, though not of his courage. Fifty guineas
were advanced to him by Sir George Beaumont, who had now commissioned
a picture at two hundred guineas, and Mr. (after Sir George) Phillips,
of Manchester, gave him a commission of L500 for a sacred work, paying
one hundred guineas down. But these advances melted rapidly away in
the expenses attendant on the painting of so ambitious a work as the
'Entry into Jerusalem.' Towards the close of the year Haydon's health
began to suffer from his excessive application, his sight weakened,
and he was often unable to paint for months at a time. Under these
afflictions, he was consoled by receiving permission to take casts of
the Elgin Marbles, the authenticity of which treasures had recently
been attacked by the art-critic, Knight Payne, who declared that they
were not Greek at all, but Roman, of the time of Hadrian. Such was the