He frequently visited taverns and coffee-houses, even in the latter years of his life; but he usually had some favourite one, which was provided with a back door, at which he could go in and out. Strangers who wished to get a sight of Beethoven used to go to the coffee-house he was in the habit of frequenting; for thither he would repair to a certainty once or twice a week, not for the purpose of conversing, but of reading the journals. When he had glanced over the last paper, he would hurry away, making his exit by the back door.
M. Ignaz von Seyfried, in his account of Beethoven,[148] states that he was a perfect master of the Latin, French, and Italian languages. In as far as relates to the first-mentioned language, Dr. Wegeler mentions in his work (p. 9) that Beethoven "learned something of Latin at Bonn." But, in proof of his very slight acquaintance with that language, I need only mention the fact that, on the first occasion of his composing a Mass, he was obliged not only to get the words translated, but also the quantities of the different syllables explained to him. How far he was conversant with the French language may be seen from the style of his letter to Cherubini (in the Third Period); and other examples of the same kind might be quoted. That he was better acquainted with it in his earlier days, before his deafness rendered him incapable of joining in conversation, may be readily presumed. As to Italian, he could only read it. Beethoven greatly admired the classic writers of antiquity, and perused their works in the best translations, of all of which he possessed copies. This industrious reading, combined with his vast musical labours, left him little time for the study of languages. He had, however, as intimate a knowledge of the translated works of some of the Greek authors as he had of his own scores. With Shakspeare, also, he was equally well acquainted. In his friends he required the same extent of reading; otherwise their society became wearisome to him.
I feel bound to notice some observations made by M. von Seyfried on the subject of Beethoven's housekeeping. At page 16 of his publication he states that "Beethoven used to go himself to market, and after bargaining and buying, not at the best price, he would return home and cook, with his own hands, the articles he had purchased," &c. Oh! M. Seyfried! "Quousque tandem?"—Is it not usual for persons in the most respectable conditions of life to purchase rare vegetables or fruit for the table? Beethoven did so, but when he wished to furnish his table with some rarities for his guests his housekeeper accompanied him, and carried home what he purchased; and he always purchased the best. His old housekeeper, on the contrary, was not so nice in her selection. Had M. von Seyfried ever been Beethoven's guest, he might have persuaded himself that his table was not ill provided. But that Beethoven should have been so far the victim of suspicion as to be induced, by an absurd distrust of others, to cook his own food, is a circumstance which I never heard of; and other friends of the great composer, to whom I have applied for information, disclaim in like manner all knowledge of the fact. However, as Beethoven was very fond of a joke, it is not impossible that he may have got up this cookery farce for the sake of mystifying some of his guests. Nevertheless, thus much is certain, that in his latter days he carried his suspicious feeling to such an extreme that he would trust nobody to pay the most trifling bills for him, and would often doubt the authenticity of a receipt. This suspicion extended even to his trustworthy old housekeeper. M. von Seyfried must pardon this comment on his statements. The exaggeration was doubtless on his part unintentional; he wrote from hearsay, a medium through which facts are frequently altered and perverted. In the year 1805 he was, as he mentions, on a footing of intimate intercourse with Beethoven, but that intimacy did not extend either to a previous or a subsequent period. However, the suspension of personal communication had not the effect of diminishing the respect entertained for Beethoven by M. von Seyfried; that able artist did not regard our great composer with the jaundiced eye with which he was regarded by certain hommes de metier. M. von Seyfried is one of the few who understood and appreciated Beethoven's inward worth, without being misled by outward appearances. (See p. 27 of his work.)
The doubts respecting the genuineness of many manuscripts attributed to Beethoven, which have come to light since his death, are worthy of consideration.[149] A great deal of imposition has already been practised, and will probably be carried still further; consequently, only Beethoven's handwriting, or his attestation to the authenticity of the manuscripts, can remove doubts on the subject.
I will mention one instance out of many, to show how far unblushing effrontery has already been carried on this point. In the year 1827, a few months after Beethoven's death, a certain M. E—— offered for sale to the Messrs. Schott, in Mainz, an Opera alleged to be composed by Beethoven. Those publishers having consulted me on the business, I advised them to demand a sight of the work in Beethoven's hand-writing, adding, that there existed no authentic manuscript Opera by Beethoven. The particulars of this not unimportant affair were published in 1828, in the 7th volume of the Cæcilia.
It is a positive fact, that Beethoven never wrote any scientific work, either on music or any other subject. Whatever works, therefore, may have been published under his name, cannot be authenticated upon autographic evidence.
I will wind up these biographical particulars with a description of the great master's personal appearance, together with a few remarks on the best portraits of him with which I am acquainted.
Beethoven's height scarcely exceeded five feet four inches, Vienna measure. His figure was compact, strong, and muscular. His head, which was unusually large, was covered with long bushy grey hair, which, being always in a state of disorder, gave a certain wildness to his appearance. This wildness was not a little heightened when he suffered his beard to grow to a great length, as he frequently did. His forehead was high and expanded; and he had small brown eyes, which, when he laughed, seemed to be nearly sunk in his head; but, on the other hand, they were suddenly distended to an unusually large size when one of his musical ideas took possession of his mind. On such occasions he would look upwards, his eyes rolling and flashing brightly, or straight forward with his eyeballs fixed and motionless. His whole personal appearance then underwent a sudden and striking change. There was an air of inspiration and dignity in his aspect; and his diminutive figure seemed to tower to the gigantic proportions of his mind. These fits of sudden inspiration frequently came upon Beethoven when he was in company, and even when he was in the street, where he naturally excited the marked attention of every passer by. Every thought that arose in his mind was expressed in his animated countenance. He never gesticulated either with his head or his hands, except when he was standing before the orchestra. His mouth was well formed; his under lip (at least in his younger years) protruded a little, and his nose was rather broad. His smile diffused an exceedingly amiable and animated expression over his countenance, which, when he was in conversation with strangers, had a peculiarly pleasing and encouraging effect. But though his smile was agreeable, his laugh was otherwise. It was too loud, and distorted his intelligent and strongly marked features. When he laughed, his large head seemed to grow larger, his face became broader, and he might not inaptly have been likened to a grinning ape; but fortunately his fits of laughter were of very transient duration. His chin was marked in the middle and on each side with a long furrow, which imparted a striking peculiarity to that part of his countenance. His complexion was of a yellowish tint, which, however, went off in the summer season, when he was accustomed to be much out in the open air. His plump cheeks were then suffused with fresh hues of red and brown.
Under this latter aspect, full of health and vigour, and during one of his intervals of inspiration, the painter, H. Schimon, (now in Munich,) took his likeness. The picture is a bust size, in oil. At the time it was painted, Beethoven was forty-nine years old. The engraving prefixed to this work is taken from it. Some years after this picture was painted, another was executed by Stieler, the portrait painter to the court of Munich. This is a half length, and the composer is represented with a pen in his hand, writing on a piece of music paper the words "Missa Solennis." This picture is excellent, and the likeness faithful; but it has not the air of vigour and animation portrayed in that of Schimon, the absence of which may be easily accounted for, Beethoven having suffered a fit of illness of two years' duration. But he remained as Stieler's portrait represents him until his death, which took place five years after the picture was painted. Beethoven's family possess a portrait of him, which was painted at an earlier period than either of those I have described. It is a half length, and represents him in a sitting posture.