Alençon, in 1581; was a member of the court which tried Anthony Babington in 1586; and was one of the commissioners who found Mary queen of Scots guilty. He besought Elizabeth not to marry the French prince; and according to one account repeatedly assured Mary that he would fetch her to London if the English queen died. Whether or no this story be true, Hatton’s loyalty was not questioned; and he was the foremost figure in that striking scene in the House of Commons in December 1584, when four hundred kneeling members repeated after him a prayer for Elizabeth’s safety. Having been the constant recipient of substantial marks of the queen’s favour, he vigorously denounced Mary Stuart in parliament, and advised William Davison to forward the warrant for her execution to Fotheringay. In the same year (1587) Hatton was made lord chancellor, and although he had no great knowledge of the law, he appears to have acted with sound sense and good judgment in his new position. He is said to have been a Roman Catholic in all but name, yet he treated religious questions in a moderate and tolerant way. He died in London on the 20th of November 1591, and was buried in St Paul’s cathedral. Although mention has been made of a secret marriage, Hatton appears to have remained single, and his large and valuable estates descended to his nephew, Sir William Newport, who took the name of Hatton. Sir Christopher was a knight of the Garter and chancellor of the university of Oxford. Elizabeth frequently showed her affection for her favourite in an extravagant and ostentatious manner. She called him her mouton, and forced the bishop of Ely to give him the freehold of Ely Place, Holborn, which became his residence, his name being perpetuated in the neighbouring Hatton Garden. Hatton is reported to have been a very mean man, but he patronized men of letters, and among his friends was Edmund Spenser. He wrote the fourth act of a tragedy, Tancred and Gismund, and his death occasioned several panegyrics in both prose and verse.
When Hatton’s nephew, Sir William Hatton, died without sons in 1597, his estates passed to a kinsman, another Sir Christopher Hatton (d. 1619), whose son and successor, Christopher (c. 1605–1670), was elected a member of the Long Parliament in 1640, and during the Civil War was a partisan of Charles I. In 1643 he was created Baron Hatton of Kirby; and, acting as comptroller of the royal household, he represented the king during the negotiations at Uxbridge in 1645. Later he lived for some years in France, and after the Restoration was made a privy councillor and governor of Guernsey. He died at Kirby on the 4th of July 1670, and was buried in Westminster Abbey. By his wife Elizabeth (d. 1672), daughter of Sir Charles Montagu of Boughton, he had two sons and three daughters. His eldest son Christopher (1632–1706), succeeded his father as Baron Hatton and also as governor of Guernsey in 1670. In 1683 he was created Viscount Hatton of Grendon. He was married three times, and left two sons: William (1690–1760), who succeeded to his father’s titles and estates, and Henry Charles (c. 1700–1762), who enjoyed the same dignities for a short time after his brother’s death. When Henry Charles died, the titles became extinct, and the family is now represented by the Finch-Hattons, earls of Winchilsea and Nottingham, whose ancestor, Daniel Finch, 2nd earl of Nottingham, married Anne (d. 1743), daughter of the 1st Viscount Hatton.
See Sir N. H. Nicolas, Life and Times of Sir Christopher Hatton (London, 1847); and Correspondence of the Family of Hatton, being chiefly Letters addressed to Christopher, first Viscount Hatton, 1601–1704, edited with introduction by E. M. Thompson (London, 1878).
HATTON, JOHN LIPTROT (1809–1886), English musical
composer, was born at Liverpool on the 12th of October 1809.
He was virtually a self-taught musician, and besides holding
several appointments as organist in Liverpool, appeared as an
actor on the Liverpool stage, subsequently finding his way to
London as a member of Macready’s company at Drury Lane
in 1832. Ten years after this he was appointed conductor
at the same theatre for a series of English operas, and in 1843
his own first operetta, Queen of the Thames, was given with success.
Staudigl, the eminent German bass, was a member of the company, and at his suggestion Hatton wrote a more ambitious work,
Pascal Bruno, which, in a German translation, was presented at
Vienna, with Staudigl in the principal part; the opera contained
a song, “Revenge,” which the basso made very popular
in England, though the piece as a whole was not successful
enough to be produced here. Hatton’s excellent pianoforte
playing attracted much attention in Vienna; he took the
opportunity of studying counterpoint under Sechter, and wrote
a number of songs, obviously modelled on the style of German
classics. In 1846 he appeared at the Hereford festival as a singer,
and also played a pianoforte concerto of Mozart. He undertook
concert tours about this time with Sivori, Vieuxtemps and others.
From 1848 to 1850 he was in America; on his return he became
conductor of the Glee and Madrigal Union, and from about
1853 was engaged at the Princess’s theatre to provide and conduct
the music for Charles Kean’s Shakespearean revivals. He
seems to have kept this appointment for about five years. In
1856 a cantata, Robin Hood, was given at the Bradford festival,
and a third opera, Rose, or Love’s Ransom, at Covent Garden in
1864, without much success. In 1866 he went again to America,
and from this year Hatton held the post of accompanist at the
Ballad Concerts, St James’s Hall, for nine seasons. In 1875
he went to Stuttgart, and wrote an oratorio, Hezekiah, given
at the Crystal Palace in 1877; like all his larger works it met
with very moderate success. Hatton excelled in the lyrical
forms of music, and, in spite of his distinct skill in the severer
styles of the madrigal, &c., he won popularity by such songs as
“To Anthea,” “Good-bye, Sweetheart,” and “Simon the
Cellarer,” the first of which may be called a classic in its own
way. His glees and part-songs, such as “When Evening’s
Twilight,” are still reckoned among the best of their class;
and he might have gained a place of higher distinction among
English composers had it not been for his irresistible animal
spirits and a want of artistic reverence, which made it uncertain
in his younger days whether, when he appeared at a concert,
he would play a fugue of Bach or sing a comic song. He died at Margate on the 20th of September 1886.
HAUCH, JOHANNES CARSTEN (1790–1872), Danish poet,
was born of Danish parents residing at Frederikshald in Norway, on the 12th of May 1790. In 1802 he lost his mother, and in 1803 returned with his father to Denmark. In 1807 he fought as a volunteer against the English invasion. He entered the university of Copenhagen in 1808, and in 1821 took his doctor’s degree. He became the friend and associate of Steffens and Oehlenschläger, warmly adopting the romantic views about poetry and philosophy. His first two dramatic poems, The Journey to Ginistan and The Power of Fancy, appeared in 1816, and were followed by a lyrical drama, Rosaura (1817); but these works attracted little or no attention. Hauch therefore gave up all hope of fame as a poet, and resigned himself entirely to the study of science. He took his doctor’s degree in zoology in 1821, and went abroad to pursue his studies. At Nice he had an accident which obliged him to submit to the amputation of one foot. He returned to literature, publishing a dramatized fairy tale, the Hamadryad, and the tragedies of Bajazet, Tiberius, Gregory VII., in 1828–1829, The Death of Charles V. (1831), and The Siege of Maestricht (1832). These plays were violently attacked and enjoyed no success. Hauch then turned to novel-writing, and published in succession five romances—Vilhelm Zabern (1834); The Alchemist (1836); A Polish Family (1839); The Castle on the Rhine (1845); and Robert Fulton (1853). In 1842 he collected his shorter Poems. In 1846 he was appointed professor of the Scandinavian languages in Kiel, but returned to Copenhagen when the war broke out in 1848. About this time his dramatic talent was at its height, and he produced one admirable tragedy after another; among these may be mentioned Svend Grathe (1841); The Sisters at Kinnekulle (1849); Marshal Stig (1850); Honour Lost and Won (1851); and Tycho Brahe’s Youth (1852). From 1858 to 1860 Hauch was director of the Danish National Theatre; he produced three more tragedies—The King’s Favourite (1859); Henry of Navarre (1863); and Julian the Apostate (1866). In 1861 he
