kindly, but evinced the greatest interest in his
compositions, many of which were performed during this visit. His
acquaintance with one of these musicians--a well-known violinist named
Dittersdorf--ripened into friendship, and led to Haydn's receiving
violin lessons at this master's hands. Another solid advantage
accruing from his association with Porpora lay in the fact that the
nobleman himself, struck by Haydn's progress, and desirous of helping
on one who showed so great a talent for art, allotted him a pension of
six sequins (L3) a month. Haydn's action on receiving the first
instalment of this generous bounty was consistent with his desire to
maintain a neat appearance, as well as an indication of the distress
which his privations had hitherto caused him to suffer: he instantly
repaired to the nearest tailor's and purchased a suit of black.

On his return to Vienna fortune continued to smile upon him, as if
anxious to atone for her neglect in the past. One after another sought
his aid in teaching and composing, with the result that he was enabled
to raise his terms and move into decent lodgings. His struggles, if
not actually ended, had become so lightened as to leave his mind free
to pursue the higher walks of his art in comparative peace. From
another quarter, too, the hand of friendship was extended to him. He
received a summons to present himself at the house of the Countess
Thun, whose devotion to music was only equalled by her generous
patronage of those in whom she discerned the signs of genius. The
Countess had lately heard one of Haydn's clavier sonatas performed,
manuscript copies of which had, in accordance with the custom
prevailing amongst unknown composers, been sent to the houses of the
aristocracy, and, being charmed with the beauty of the work, she had
inquired the name of the composer, with the object of engaging his
services.

It is probable that the Countess had formed a very different
conception of Haydn's appearance from his work, for she could scarcely
conceal her surprise when he was ushered into her presence. That one
so ill-dressed and--it must be confessed--so uncouth of manner could
be the composer of such charming music seemed impossible. Her face
showed this so plainly that Haydn, knowing her generous character,
ventured to relate the story of his struggles. As he proceeded with
his simple narrative, the Countess's eyes filled with tears. She was
one of the noblest of women, and he