ng, near Vienna.

The allusions to the compositions of this composer in the preceding
pages are very fragmentary, and, in fact, are expected merely to
direct attention to those mentioned. There are many others almost
equally worthy of attention. But upon the whole, the reputation of
Beethoven as a tone poet must rest first upon the nine symphonies;
then upon the string quartettes and other chamber music; next upon the
concertos, of which the third and fourth for pleasing beauty, and the
fifth for deep poetical meaning, have never been equaled by those of
any other composer. There remain the sonatas for pianoforte and for
piano and violin, three large volumes, containing a multitude of
exquisite strains, which the world would be poor indeed to lose.

[Illustration: Fig. 58.

BEETHOVEN AS HE APPEARED ON THE STREETS OF VIENNA.

(From a sketch by Lyser, to the accuracy of which Breuning testifies,
excepting that the hat should be straight on the head, and not
inclined to one side.)]

In personal appearance Beethoven was rugged rather than pleasing. He
was rather short, five feet five inches, but very wide across the
shoulders, and strong. His ruddy face had high cheek bones, and was
crowned by very thick hair, which originally was brown, but in later
life perfectly white. His eyes were black and rather small, but very
bright and piercing. His natural expression was grave, almost severe,
but his smile was extremely winning, and he was jovial in humor. He
was very fond of the country, walking in the fields, where under a
tree he would lie for a half day together, humming the melodies which
occurred to him, and making notes in the bits of blank paper which he
always carried. These pocket note books have been preserved, and we
find in them themes in crude form which he used for some important
movement or other, often several years later. Among the works produced
while this habit was strongest were the sixth and seventh symphonies,
than which no works in music are more charming.

[Illustration: [autograph] Louis Van Beethoven]

CHAPTER XXVIII.

HAYDN, MOZART AND BEETHOVEN COMPARED.

The three masters, Haydn, Mozart and Beethoven, in relation to the
symphony stand upon a plane of substantial equality, whether we
estimate their merits according to the absolute worth of the
compositions they produced in this form, or in the value of the
additions which each in turn made to the ideal of his predecessor.
Naturally