These three pictures are the only ones which can be relied on, as likenesses of the great composer, and as worthy of the attention of his admirers. The few others which are here and there to be seen are valueless, having been painted merely from the imagination of the artists.
The same remark is applicable to most of the copperplate and lithographic portraits of Beethoven. Excepting the copperplate engraving by Letronne, and the lithographic drawing after Stieler's picture, (however only those published by Trentschensky, late Artaria, in Vienna,) I know of no print which conveys an accurate idea of the countenance of my beloved friend and master—that countenance which I fancy I still behold, living, and before me.
[The author of this Biography adds here an Appendix, which I have omitted, as having too little relation with the object of this work, and by his own authorisation to the publisher. It suffices to mention that it treats of the state of music at Münster and Aix-la-Chapelle. In the first town M. Schindler lived three years as director of a musical institute, and since 1835 he has been music-director at Aix-la-Chapelle. In both these towns he has endeavoured, more or less successfully, to exalt the taste for classical music. He bears testimony also against the eccentricity and degeneracy of the modern style of pianoforte-playing, particularly in reference to the manner of performing Beethoven's music, and draws the attention of the musical world to a most promising talent, a Mdlle. Hansemann, in Aix-la-Chapelle, his pupil. This lady, according to his expectations, will develop in her style of playing the true spirit of Beethoven.—ED.]
SUPPLEMENT
TO VOLUME II.
No. I.
Beethoven's Letters to Mlle. von Breuning, Wegeler, and Ries.
1.
To Mlle. von Breuning.
Vienna, November 2nd, 1793.