When he arrived at Vienna in December, 1826, he went immediately to bed in his lodgings in the Schwarzspanierhaus. He had dismissed rudely two eminent physicians who had treated him for a former illness, and they would not now attend him. His nephew, who was charged with the errand of finding a doctor, played billiards and forgot the condition of his uncle, so that two days went by without medical assistance. Finally Dr. Andreas Wawruch was told by a billiard-marker of the suffering of the sick man. He went to him and dosed him with decoctions. In a few days the patient was worse, in spite of the great array of empty bottles of medicine. Dropsy declared itself. He was tapped by Dr. Seibert, and during one of the operations he said, "I would rather see the water flow from my belly than from my pen." Schindler and Breuning came to his bedside, and with them young Gerhard Breuning, the son of Stephen. This lad now dwelled in the house with Beethoven as his constant companion. Dr. Malfatti was persuaded to forget his quarrels with the composer, and he consented to act in consultation with Dr. Wawruch. Beethoven saw his old friend gladly; but he would turn his back to Wawruch with the remark, "Oh, the ass!" Malfatti administered iced punch; for a short time the patient seemed stronger, and he talked of the 10th symphony. But in February, 1827, he was tapped for the fourth time; his aristocratic friends were forgetful of him, and even the Archduke Rudolph did not interest himself by cheap inquiry. In this same month Beethoven wrote to Moscheles and Sir George Smart telling them of his strait, and begging them to arrange for a concert for his benefit. All this time he had the seven bank shares of one thousand florins each that were found with the two mysterious love letters in a secret drawer of his writing desk, the day after his death; these shares he held for his scape-grace nephew, whom he made his sole heir, although by a codicil the capital was placed beyond his nephew's control. The Philharmonic Society promptly sent through Moscheles £100 on account of the future concert, and promised more if it were necessary. Unable to compose, Beethoven tried to read Sir Walter Scott's "Kenilworth," but he threw it aside and said, "The man writes only for money." He saw "the divine fire" in some of Schubert's songs. He wrote many letters, he arranged certain dedications of his works, and he found pleasure in a lithograph of Haydn's birthplace, and in a set of Handel's compositions in forty volumes, which had been given him. The Rhine wine that he had asked of Schott came too late. Hummel called on him in March and introduced his pupil Ferdinand Hiller. On the 19th of this month Beethoven felt the end, and he said to Breuning and Schindler, "Plaudite, amici, comoedia finita est." On the 23d he made with his own hand the codicil above mentioned. Several people called, among them Schubert, who saw him but could not speak with him. The last Sacraments of the Roman Catholic church were administered to the dying man the 24th. Then Beethoven wrestled with death until a quarter to six on the evening of the 26th, when he gave up the ghost. His sufferings were atrocious; the final agony was terrible. Just as he was delivered from his earthly ills a tempest, a great storm of hail and snow, burst over the roofs of Vienna. There was a dazzling flash of lightning; and the roaring thunder roused Beethoven. He pulled himself up in his bed, shook his fist at the sky, and fell back dead. Anselm Hüttenbrenner and the wife of Johann Beethoven were by his side.
The post mortem examination was made by Doctors Wagner and Rokitansky. Wagner cut and preserved the temporal muscles and the organs of hearing. The body was dressed and exposed in the room of the death. The lower jaw was not sustained, and the face with its long hair and its beard of three months' growth was savage.
The funeral was the 29th at three o'clock in the afternoon. It was attended by an immense crowd. Dr. Breuning estimated the number of persons on the glacis and in the neighboring streets at 20,000. The coffin was placed on the shoulders of eight members of the Imperial Opera. Eybler, Hummel, Kreutzer, Weigl, Gyrowetz, Seyfried, Gänsbacher and Würfel held the streamers of the canopy. There were thirty-two torch bearers, whose left arms were wrapped in crape ornamented by lilies and white roses. Among these torch bearers were Czerny, Schubert and the giant Lablache. At the head, after the crucifix, four trombone players marched, and played alternately with the singing of a choir of sixteen men the two Equali of the dead composer. The crowd that followed was so enormous that soldiers were summoned to force a way. The ceremonies were held at the Church of the Minorites, and the body was then put in a hearse which was drawn by four horses to the Währinger cemetery. The gate was reached at the falling of night, and the play-actor Anschütz delivered an address written by Grillparzer. Other poems were read and distributed. Flowers and laurel wreaths were heaped on the coffin when it was lowered to its resting place.
The 3d of April the furniture, clothes and the Graf and Broadwood pianofortes were sold at auction. The same day Mozart's Requiem was sung in the Hofpfarrkirche of the Augustines, and Lablache not only sang the solo bass but paid about $80 for the cost of the singers. In November the musical effects were sold at auction, and they brought about 1200 florins. The total amount of money then was about $5,000.
In 1863 the Gesellschaft der Musik-Freunde opened the tombs of Beethoven and Schubert and reburied their bodies in leaden coffins. The 21st of June, 1888, the body of Beethoven was removed from the Währinger cemetery and transferred to the central cemetery of Vienna at Simmering. A monument was raised in Bonn in 1845, chiefly through the generosity and enthusiasm of Liszt. It is by Höhnel, and it represents Beethoven standing, draped in a mantle. A colossal statue by Zurnbusch stands in one of the public places in Vienna, in front of the Academic Gymnasium.
BEETHOVEN'S TOMB IN VIENNA CEMETERY.
From a photograph.
When the body of Beethoven was exhumed in 1863 an impression and a photograph of his skull were taken. The head was remarkable. The box of bone was unusually thick; the dimensions of the forehead were extraordinary; in height the forehead came next to that of Napoleon, and in breadth it surpassed it. His face was strong and sombre, and while it was not without ugliness, it was expressive. The head was built stoutly throughout. The complexion was red and highly accented; though Schindler tells us that it grew yellow in summer. The hair was thick and rebellious; it was originally black, and in later years turned white. He shaved cheeks, chin and upper lip, and he was as awkward as Lord Macaulay with a razor. The eyes were black, not large, and they shot forth a piercing flame when he was excited. The nose was thick; the jaw was broad; the mouth was firm, and with protruding lips; the teeth were white, well-shaped, and sound, and when he laughed he showed them freely; the square chin rested on a white cravat. The greater number of pictures of Beethoven are idealized. The most faithful likenesses are the miniature by Hornemann, taken in 1802, and sent by Beethoven to Breuning in token of reconciliation; the drawing by Letronne, a French artist who was in Vienna in 1814; and the portrait by Schimon in 1819. Two plaster masks were made; one by Klein in 1812; the other, a death-mask, by the sculptor Dannhauser, from which Fortuny made an etching.