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Unfortunately, anything goes nowadays, without proper insight, sensibility.What you see is the actual life mask of Beethoven. We also have his death mask.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.[Quote][Beethoven] 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.Beethoven's contemporaries described the 30 year old composer as a small and inconspicuous person with an ugly face riddled with pockmarks. Carl Czerny, then a Beethoven student, even compared Beethoven to Robinson Crusoe as his unruly pitch-black hair was a mess on his head."Beethoven was short, but broad-framed. Until his early thirties he was slim... [he had] penetrating brown eyes beneath a broad forehead and thick eyebrows. His ruddy complexion bears the scars of childhood smallpox, his mouth is shapely, and his chin has a cleft which became more marked in later years. ...In his late thirties Beethoven became stockier." Grillparzer writes in 1823: "I first saw Beethoven in my boyhood years - which may have been 1804 or 5.... Beethoven in those days was still lean, dark, and contrary to the habit in later years, very elegantly dressed... One or two years later I was living with my parents in Heiligenstadt, near Vienna. Our dwelling fronted on the garden, and Beethoven had rented the rooms facing the street... My brothers and I took little heed of the odd man who in the meanwhile had grown more robust, and went about dressed in a most negligent, indeed even slovenly way.""It was not uncommon for {Beethoven's] friends to replace his old clothes with new ones overnight. Beethoven would apparently dress the next day completely unaware of the exchange.Paradoxically he had an almost obsessional attitude towards washing. This ritual would be the cue for him to sing (or howl) at the top of his voice, much to the amusement of his servants or passers-by who were in a position to overlook his apartment. Whether this denoted a particular concern for his personal hygiene, or was essential to his thought process, is open to question. What is certain is that the overflow from the buckets of water he emptied over himself often leaked through the floor, causing Beethoven to be unpopular with landlords."Baron de Tremont writes of a visit to Beethoven in 1809:"Picture to yourself the dirtiest, most disorderly place imaginable - blotches of moisture covered the ceiling, an oldish grand piano, on which dust disputed the place with various pieces of engraved and manuscript music; under the piano (I do not exaggerate) an unemptied pot de nuit; ... the chairs, mostly cane-seated, were covered with plates bearing the remains of last night's supper and with wearing apparel etc."Count von Keglevics, nephew of one of Beethoven's students, wrote:"he had a whim, one of many, since he lived across from her [his student], of coming to give her lessons clad in a dressing gown, slippers and a peaked nightcap.""Beethoven was most awkward and bungling in his behaviour; his clumsy movements lacked all grace. He rarely picked up anything without dropping or breaking it... Everything was knocked over, soiled, or destroyed. How he ever managed to shave himself at all remains difficult to understand, even considering the frequent cuts on his cheeks. - He never learned to dance in time with the music."Beethoven was below the middle height, not more than five feet five inches; he was broad-shouldered, sturdy, with legs like columns. He had hairy hands, short fingers, with square ends as though they had been chopped. His movements were without grace but they were marked by their quickness. He was awkward in holding playing cards; he dropped everything that he took in his hands. When he first went about in Vienna he dressed in the fashion, with silken stockings, a peruke, long boots and a sword. In later years he wore a blue or dark green coat with copper buttons, a white waistcoat and a white cravat; and he carried an eyeglass. His felt hat was on the back of his head so that it touched his coat collar, as in the sketch of him by Lyser. His hat was often shabby and it excited the attention of loungers as he amused himself by strolling aimlessly in the streets, and by peering into the shop windows. The skirts of the coat were heavy laden; there would be within them an ear-trumpet, a carpenter's pencil, a stitched-book for use in his written conversation, a thick blank-book in quarto form, in which he jotted down vagrant thoughts and musical ideas. A pocket handkerchief would hang down to the calves of his legs, and the pockets bulged until they showed the lining. He would walk in deep meditation; talk with himself; at times make extravagant gestures.He was simple in certain ways, easily gulled; so absent-minded that he once forgot he was the owner of a horse. He could appreciate wit, although he preferred rough jokes and horse play. He enjoyed pranks at the expense of others. He threw eggs at his cook and poured the contents of dishes over the heads of waiters. He was often brutal and rude in his speech to unoffending friends and strangers. The reproach of his being absurdly suspicious may be laid perhaps to his deafness. The son of a drunkard, he was on the whole abstemious; at the tavern he would sit apart with a glass of beer and a long pipe, and there he would brood. Of restless nature, he shifted constantly his lodgings, often with a whimsical excuse. He was fond of washing himself. He ate greedily badly cooked food whenever it occurred to him that he was hungry; and his digestion suffered thereby. He was fond of a panada with fresh eggs, macaroni sprinkled thickly with cheese of Parma, and fish. His favorite drinks were cool and pure water, and coffee which he prepared in a glass machine with extreme care, with sixty beans in a cup. It is said that in later years his table manners were beyond endurance. When he tried housekeeping for the sake of his nephew he was in continual trouble with his servants. He had little or no sense of order.The Project Gutenberg eBook of Famouse Composers And Their Works, by John Knowles Paine, Theodore Thomas and Karl Klauser, editors.Project Gutenberg's Famous Composers and their Works, Vol. 2, by Various This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: Famous Composers and their Works, Vol. 2 Author: Various Editor: John Knowles Paine Theodore Thomas Karl Klauser Release Date: July 23, 2018 [EBook #57570] Last Updated: August 18, 2018 Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK FAMOUS COMPOSERS *** Produced by Juliet Sutherland, Jane Robins, with special credit to Linda Cantoni for the music files, and the Online Distributed Proofreading Team at http://www.pgdp.net Famous Composers and their Works Edited by John Knowles Paine Theodore Thomas and Karl Klauser Illustrated Boston J. B. Millet Company 1906 Copyright, 1891, by J. B. M ILLET C OMPANY . Note: The following lists of Contents were harvested from Volume One. TABLE OF CONTENTS Page F RANZ J OSEPH H AYDN Benj. E. Woolf 245 W OLFGANG A MADEUS M OZART Philip Hale 269 L UDWIG VAN B EETHOVEN (Biography) Philip Hale 309 T HE D EAFNESS OF B EETHOVEN Clarence J. Blake 333 B EETHOVEN AS C OMPOSER John K. Paine 337 F RANZ P ETER S CHUBERT John Fiske 351 L UDWIG S POHR W. J. Henderson 375 C ARL M ARIA VON W EBER H. E. Krehbiel 389 H EINRICH M ARSCHNER H. E. Krehbiel 409 F ELIX M ENDELSSOHN B ARTHOLDY John S. Dwight 417 R OBERT S CHUMANN Louis Kelterborn 439 R OBERT F RANZ Louis Kelterborn 463 G IACOMO M EYERBEER Arthur Pougin 472 S TRAUSS Henry T. Finck 487 LIST OF FULL-PAGE PLATES. PLATE PAGE 18 B EETHOVEN 307 25 F RANZ 463 16 H AYDN 243 23 M ENDELSSOHN 415 26 M EYERBEER 471 17 M OZART 267 19 S CHUBERT 349 24 S CHUMANN 437 20 S POHR 375 27 S TRAUSS 487 21 W EBER 387 PORTRAITS. B EETHOVEN 307 Beethoven, silhouette 311 Beethoven, miniature 312 Beethoven, by Gatteux 317 Beethoven, pencil portrait 318 Beethoven, by Schimon 319 B EETHOVEN , by Stieler 321 F RANZ 463 F RANZ , by Weger 465 Franz 469 H AYDN 243 Haydn, by Anton Graff 249 Haydn, silhouette 255 Haydn, miniature 257 Haydn in his 49th year 263 Hensel, William 423 M ARSCHNER 409 M ENDELSSOHN 415 Mendelssohn's father 419 Mendelssohn's mother 420 Mendelssohn, Fanny 421 Mendelssohn's wife 422 Mendelssohn on his death-bed 424 Mendelssohn in his 12th year 428 Mendelssohn in his 26th year 431 M EYERBEER 471 Meyerbeer in his eighth year 475 Meyerbeer, from wood-cut 479 M OZART 267 Mozart in his sixth year 272 Mozart in his ninth year 272 Mozart in his tenth year 273 Mozart in his 14th year 273 Mozart, Maria Anna 277 Mozart's wife 280 M OZART F AMILY , by Carmontelle 281 Mozart famihttps://www.gutenberg.org/files/57570/57570-h/57570-h.htmGlimpses of Beethoven in society and with friends | DW | 09.09.2011He's been placed firmly on the pedestal of music history and been glorified in the form of countless marble busts. But what kind of a man was famed composer Ludwig van Beethoven in reality?https://www.dw.com/en/glimpses-of-beethoven-in-society-and-with-friends/a-6614678Beethoven as a PersonA lock of Beethoven's Hair Beethoven's personality was also challenging: "As a young man Beethoven was frank to the point of rudeness. Headstrong and proud, he was never willing to conform in his behaviour... As he grew older and deafness overrtook him, the negative aspects of Beethoven's personality came to the fore. He was increasingly given to bouts of despair, the difficulties of communication made him more reserved, and he became more suspicious and distrustful of others." "Beethoven's behaviour was as erratic as his complex personality might lead one to expect. He rarely stayed in one abode for long; domestic comforts were apparenly unimportant to him and he lived in a state of disorderliness which shocked many observers; he was unable to excercise control over his household affairs; and he became increasingly negligent over his dress." Baron de Tremont writes of a visit to Beethoven in 1809: "Picture to yourself the dirtiest, most disorderly place imaginable - blotches of moisture covered the ceiling, an oldish grand piano, on which dust disputed the place with various pieces of engraved and manuscript music; under the piano (I do not exaggerate) an unemptied pot de nuit; ... the chairs, mostly cane-seated, were covered with plates bearing the remains of last night's supper and with wearing apparel etc." Count von Keglevics, nephew of one of Beethoven's students, wrote: "he had a whim, one of many, since he lived across from her [his student], of coming to give her lessons clad in a dressing gown, slippers and a peaked nightcap."http://www.toddtarantino.com/hum/beethovenhimself.htmlBEETHOVEN'S APPEARANCEW. BARCLAY SQUIRE; BEETHOVEN'S APPEARANCE, Music and Letters, Volume VIII, Issue 2, 1 April 1927, Pages 122–124, https://doi.org/10.1093/ml/VIII.2.122https://academic.oup.com/ml/article-abstract/VIII/2/122/1120443?redirectedFrom=PDFLIFE MASK OF BEETHOVENTaken in 1812 by Franz Klein, Beethoven being then in his forty-second year. This mask and the bust made after it by the same artist are of the first importance in forming a correct judgement of the value of all portraits of Beethoven.Beethoven | Public Domain [Life mask - Death mask]Ludwig van BeethovenThe beloved German composer and pianist had enough hair plucked from his head to weave together a fascinating DNA evidence trail, but his death mask also reveals clues.How he diedHistorians have long quibbled over how Beethoven died. I say — take your pick! He suffered from smallpox, rheumatism, typhus, colitis, skin infections, chronic bronchitis, colic, irritable bowl, cirrhosis, infectious hepatitis, Sarcoidosis, Whipple’s disease, possibly lead poisoning, and…the poor man lost his hearing. (I am sure I forgot a few.)Why his death mask is specialThe left image is Beethoven’s life mask. The right image is his death mask. The two are startling in their differences.His bronze life mask (left) was cast in 1812 from an original mold by Franz Klein. It was cast about the time he wrote his tear-jerking Immortal Beloved letter. Now you know why he looks like he can’t find a prom date.His plaster death mask (right) was cast by Josef Dannhauer in 1827. His cheeks are sunken, and his face appears emaciated. Clearly, Beethoven suffered in his final days. Five Famous Death MasksIn 1812, this sculpture was made, which itself is based on the actual ‘life mask’ of Beethoven, that same year.Bust of Beethoven, by Franz Klein (1812)Franz Klein (sculptor)Franz Klein (1779–1840) was an Austrian sculptor; he was born and died in Vienna. He is known particularly for his bust of Ludwig van Beethoven, made in 1812.The life maskJohann Andreas Streicher, pianist and piano-maker, and friend of Beethoven, supervised a private concert hall in Vienna, and in 1812 statues of musicians, sculptured by Klein, were placed in the hall. For the statue of Beethoven, Streicher commissioned Klein to make a life mask of Beethoven.Creating the mask involved spreading fluid plaster on the face; the first attempt failed, as Beethoven thought he might suffocate. The second attempt was successful. H. C. Robbins Landon has written that this life mask is "without any question, the most important documentary evidence of Beethoven's features." From the life mask, Klein made a bust of Beethoven; the eyes, hair and clothes were added by the sculptor. During the 19th century, various copies of the sculpture were made, in plaster or bronze.Later sculptorsSculptor Anton Dietrich acquired the life mask, from which he made several busts of Beethoven, the first of them shown in 1820. After Dietrich's death the life mask was acquired by the sculptor Kaspar von Zumbusch, who created a monument of Beethoven in Vienna (1873–1880). Franz Klein (sculptor) - WikipediaErnst Julius Hähnel (1811–1891), Beethoven monument in Bonn, 1845. The casting was done by Jakob Daniel Burgschmiet of Nuremberg.Beethoven's first authenticated likeness—a silhouette by Neesen, made between 1787 and 1789. [Beethoven was born in 1770]The first existing portrait of Beethoven, was painted around 1800 by Gandolph Ernst Stainhauser von Treuberg. This was one of the earliest portraits of Beethoven. It was created after Beethoven first became successful in Vienna. In 1801, Johann Joseph Neidl created a copper engraving that was based on this portrait. The portrait is now considered lost.DFG-ViewerPDFNice to knowThis depiction of the approximately 30-year-old Beethoven was created after a drawing of the Austrian portraitist and miniaturist Gandolph Ernst Stainhauser von Treuberg (1766-1805). It shows the young composer when he was at the first peak of his success in the Vienna music world.Stainhauser's drawing was the master for various copper engravings, which had been created in Vienna and Leipzig from 1801 until 1805. The reproduced work shown here, was created by the Viennese engraver Johann Joseph Neidl. The publishing house Giovanni Cappi published it in 1801. A few months later, Cappi published the original version of Beethoven's "Moonshine Sonata" (op. 27 No. 2), which soon thereafter became extraordinarily successful.(S.B.)BEETHOVEN.Miniature portrait on ivory painted by C. Hornemann, in 1803.Horneman portrait 1803 - Beethoven gave this as a gift to his friend Stephan von Breuning.BEETHOVEN.After a posthumous Medallion by Gatteux.BEETHOVEN.181, an engraving by Hofel from a drawing by Letronne - which B also gave out to his friends.From a pencil drawing by Letronne, made in 1814. It has been engraved by several artists. The above is reproduced from the frontispiece of the original full score of "Fidelio," published in Bonn.BEETHOVEN.From an engraving by Eichens after an oil painting by Schimon, painted in 1819.BEETHOVEN'S STUDIOIn the Schwarz-Spanier house (House of the Black-Robed Spaniards). From an engraving by G. Leybold of a drawing made three days after his death.THE "SCHWARZ-SPANIER" HOUSE, IN VIENNA, IN WHICH BEETHOVEN DIED.PEN AND INK SKETCH OF BEETHOVENAs he appeared on the streets of Vienna; drawn by J.P. Lyser, probably about 1820-25.Attributed to Louis Letronne: Beethoven.1814, a pencil drawing by Ludwig van Beethoven , which was revised by Blasius Höfel for the Artaria publishing house and engraved in copper and which was widely used. It is unclear whether a white pencil drawing with the inscription "1821", which was in the collection of the French investment banker André Meyer (1898–1979) for a long time, should be addressed as Letronne's original. It was auctioned at Sotheby’s together with the collection in 2012 and now belongs to the Bibliothèque nationale in Paris.White heightened pencil drawing with the inscription–1821–, 16 × 12 cm, Bibliothèque nationale de France.https://de.wikipedia.org/wiki/Louis_LetronneLetronne was the son of the engraver Jean Louis Letronne (1766-1801) and the younger brother of the archaeologist Jean Antoine Letronne (1787-1848). Like this he studied with Jacques-Louis David and Nicola-André Monsiau (1754-1837). In 1805 he came to Vienna with the French army and there helped the later furniture manufacturer Joseph Ulrich Danhauser to set up a factory for wood bronze goods. During the Congress of created numerous portraits of important personalities.His most famous work was created in 1814, a pencil drawing by Ludwig van Beethoven , which was revised by Blasius Höfel for the Artaria publishing house and engraved in copper and which was widely used. It is unclear whether a white pencil drawing with the inscription "1821", which was in the collection of the French investment banker André Meyer (1898–1979) for a long time, should be addressed as Letronne's original. It was auctioned at Sotheby’s together with the collection in 2012 and now belongs to the Bibliothèque nationale in Paris.In 1817 Letronne settled in Warsaw , where he founded a drawing school and a publishing house in which he also published music, including works by Maria Szymanowska . In 1829 he returned to Paris and made trips to Munich and Dresden from there .The lithographic institute in Paris, led by Letronne, was also active in the field of cartography and published an atlas of France in 1839 .Louis Letronne - zxc.wikiLudwig van Beethoven, copper engraving by Blasius Höfel after the drawing by Louis Letronne, 1814 Attributed to Louis Letronne: Beethoven. White heightened pencil drawing with the inscription –1821– , 16 × 12 cm, Bibliothèque nationale de France. Louis René Letronne (* 1790 in Paris ; † 1842 ibid) was a French portrait miniaturist , draftsman and lithographer . Life Letronne was the son of the engraver Jean Louis Letronne (1766-1801) and the younger brother of the archaeologist Jean Antoine Letronne (1787-1848). Like this he studied with Jacques-Louis David and Nicola-André Monsiau (1754-1837). In 1805 he came to Vienna with the French army and there helped the later furniture manufacturer Joseph Ulrich Danhauser to set up a factory for wood bronze goods. During the Congress of Vienna he created numerous portraits of important personalities. His most famous work was created in 1814, a pencil drawing by Ludwig van Beethoven , which was revised by Blasius Höfel for the Artaria publishing house and engraved in copper and which was widely used. It is unclear whether a white pencil drawing with the inscription "1821", which was in the collection of the French investment banker André Meyer (1898–1979) for a long time, should be addressed as Letronne's original. It was auctioned at Sotheby’s together with the collection in 2012 and now belongs to the Bibliothèque nationale in Paris. In 1817 Letronne settled in Warsaw , where he founded a drawing school and a publishing house in which he also published music, including works by Maria Szymanowska . In 1829 he returned to Paris and made trips to Munich and Dresden from there . The lithographic institute in Paris, led by Letronne, was also active in the field of cartography and published an atlas of France in 1839 . Works (selection) Plan de la ville de Crémone . Pour l'explication de la surprise de cette ville, par le Prince Eugène de Savoie , pendant la nuit du 31 Janvier 1702 . Paris 1837. ( gallicalabs.bnf.fr digitized). Nouvel atlas communal de la France en 90 feuilles, dedié à la chambre des députés; contenant une carte générale comparative, celle de l'Algérie et une carte particulière pour chaque départment, dressé par Charle. Exécuté sous la direction de Letronne. Letronne, Paris 1838. literature Theodor von Frimmel: New Beethoveniana . C. Gerold's Sohn, Vienna 1888, p. 234–238 ( Text Archive - Internet Archive ). Letronne, Louis . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 23 : Leitenstorfer – Mander . EA Seemann, Leipzig 1929, p. 139-140 . Theodor von Frimmel : studies and sketches for painting. Volume 5, Vienna 1920, p. 75 ff. Theodor von Frimmel: Beethoven Handbook. Leipzig 1926, Volume 2, pp. 341–342 ( Textarchiv - Internet Archive ). HC Robbins Landon : Beethoven. His life and his world in contemporary images and texts. Zurich 1970, p. 128. Peter Clive: Beethoven and his World. A Biographical Dictiohttps://de.zxc.wiki/wiki/Louis_LetronneAn 1814 etching of Ludwig van Beethoven by Blasius Hoefel, after a drawing of Louis Letronne. Photograph: Imagno/Getty ImagesDuring this time, Letronne also drew Ludwig van Beethoven. His portrait was supposed to be the draft for a copper engraving, which should have been done by the Vienna engraver Blasius Höfel. But Höfel thought Letronne's drawing was not a really good drawing of Beethoven. So he asked the composer to sit for him again. Beethoven agreed and Höfel revised Letronne's portrait. The publishing house Artaria published this portrait as copper engraving in Vienna.The decision of the publishing house to print this portrait shows the tremendous popularity Beethoven enjoyed at that time. This popularity mainly derived from the success of the two compositions Beethoven composed and performed on the occasion of the Vienna Congress: the Cantata "Der glorreiche Augenblick" ( "The Glorious Moment") op. 136 and the Symphony "Wellingtons Sieg" ("Wellington's Victory"), or the "Schlacht bei Vittoria" ("Battle near Vittoria") op. 91.(S.B.)Ludwig van Beethoven, 1814 - Stich von Blasius Höfel nach einer Zeichnung von Louis LetronneLudwig van Beethoven, engraving by Blasius Höfel (1792-1863) “after” a drawing by Louis René Letronne (1788-1841); published in Vienna by Artaria und Comp., 1814.The French draftsman and portraitist, Louis Letronne was resident in Vienna between 1805-1817. At the time of the Congress of Vienna (1814-1815), he portrayed many monarchs and statesmen who were attending or visiting Vienna and drew Beethoven in anticipation of an engraving by the Viennese engraver Blasius Höfel. Apparently, however, Höfel thought that the artist had not achieved a true likeness of the composer and he asked the composer to sit again. “Höfel often saw Beethoven at Artaria’s [music shop] and, when his work was well advanced, asked him for a sitting or two. The request was readily granted. At the time set, the engraver appeared with his plate. Beethoven seated himself in position and for perhaps five minutes remained reasonably quiet; then suddenly springing up went to the pianoforte and began to extemporise, to Höfel’s great annoyance. The servant [Höfel] relieved his embarrassment by assuring him that he could now seat himself near the instrument and work at his leisure, for his master had quite forgotten him and no longer knew that anyone was in the room. This Höfel did; wrought so long as he wished, and then departed with not the slightest notice from Beethoven. The result was so satisfactory that only two sittings of less than one hour each were needed. It is well known that Höfel’s is the best of all the engravings made of Beethoven” (Thayer’s Life of Beethoven, p.589).Beethoven’s popularity at this particular time, considering the success of two recent compositions performed at the Congress of Vienna, namely the cantata Der glorreiche Augenblick and Wellingtons Sieg oder die Schlacht bei Vittoria, must have encouraged the publisher to have the image made. This copy of the print was donated in 1877 from the estate of Charles Neate (1784-1877, Member A213). Neate had acted as agent for the Philharmonic Society in 1815 in procuring three manuscript overtures from the composer; although the Philharmonic Society were expecting new compositions by Beethoven, Neate transported the manuscripts of the works Die Ruinen von Athen, König Stephan and Namensfeier, having paid 75 guineas for them. It seems very probable that Neate acquired this particular copy of the engraving of Beethoven when he was in Vienna during the business trip of 1815. https://www.rsmgb.org/2020/11/18/archive-item-of-the-month-december-2020/Ludwig van Beethoven, Colour lithograph by Blasius Höfel after the drawing by Louis Letronne, 1814Blasius Höfel - WikipediaBeethoven’s hair. Locks of hair.Beethoven at death.Death mask.Actual skull of Beethoven.Nice to knowThe records from the first exhumation of Beethoven's body show that the Gesellschaft der Musikfreunde invited Johann Batta Rottmayer to be present when the tomb at the Währing Cemetery was opened, to photograph the remains. When it became apparent that this was not possible at the given place and time, the decision was made not to put Beethoven's skull in the zinc coffin along with the other remains, but to temporarily give it to Gerhard von Breuning for safekeeping. A few days later, on 16 and 20 October, Rottmayer took the photograph of the skull shown here, of which there are several prints. This photograph shows the skull, which had broken into nine pieces when exhumed, as it was reconstructed by the doctors present, Patruban, Standthartner and Gerhard von Breuning. In so doing several larger missing pieces had to be reconstructed. As stated in the examination report a piece of the calotte "right in the middle [...] around the vertex" had gone missing, and the petrosal bones, which had been removed during the 1827 post-mortem by "sawing vertically through the temporal bones" were also missing.(S.B.)Beethovens Schädel - Reprofotografie einer Aufnahme von Johann Batta RottmayerFRANZ JOSEPH HAYDNReproduction of a steel engraving by L. Sichling, after an oil portrait by Röster.JOSEPH HAYDN.From the original pastel portrait by Anton Graff.The original is half life-size.FRANZ PETER SCHUBERTReproduction of a lithograph portrait made by Kriehuber, of Vienna.CARL MARIA VON WEBERReproduction of a portrait at the British Museum drawn by C. Vogel, Dresden, 1823, and engraved by C. A. Schwerdgeburth. Weber in his thirty-seventh year.HENRICH MARSCHNERReproduction of a lithograph portrait drawn by T. A. Jung and published by Johanning & Whatmore, London, 1830.ROBERT SCHUMANNReproduction of an etching by L. Otto, after a Danish photograph. This portrait is preferred by Schumann's family as the most faithful and characteristic.JOHANN STRAUSSReproduction of a photograph from life of the younger Johann Strauss.Published by Reichard & Lindner, Berlin, 1887.JOSEPH STRAUSS.From a lithograph by Maurin, at the Paris Opera Library.The Project Gutenberg eBook of Famouse Composers And Their Works, by John Knowles Paine, Theodore Thomas and Karl Klauser, editors.A portrait of the 13-year-old Beethoven by an unknown Bonn master (c. 1783)In 2006, the picture was captioned thus in the museum where it hangs: "Ludwig van Beethoven was recognized as a child prodigy. He worked at the age of 13 as organist, pianist/harpsichordist and violist at the court in Bonn, and had published three early piano sonatas. This portrait in oils is the earliest authenticated likeness of Beethoven." Beethoven-Haus Bonn disputes this description, claiming it to be an unknown youth painted in the early 19th century.File:Thirteen-year-old Beethoven.jpg - Wikimedia CommonsSummary [ edit ] Deutsch: Disputiert Portrait der dreizehnjährige BeethovenEnglish: Disputed portrait of thirteen-year-old Beethoven ( ) Artist Anonymous Unknown author Unidentified painter Description 18th-century portrait paintings of men, with Not identified, Unspecified, Unmentioned, Unattributed, Unknown Unknown or Anonymous artists. Title Deutsch: Disputiert Portrait der dreizehnjährige Beethoven English: Disputed portrait of thirteen-year-old Beethoven Object type painting object_type QS:P31,Q3305213 Description Deutsch: Portrait der dreizehnjährige Beethoven, Bonner Meister Ελληνικά: Πορτραίτο του δεκατριάχρονου Μπετόβεν από άγνωστο καλλιτέχνη της Βόννης English: In 2006, the picture was captioned thus in the museum where it hangs: "Ludwig van Beethoven was recognized as a child prodigy. He worked at the age of 13 as organist, pianist/harpsichordist and violist at the court in Bonn, and had published three early piano sonatas. This portrait in oils is the earliest authenticated likeness of Beethoven." Beethoven-Haus Bonn disputes this description, claiming it to be an unknown youth painted in the early 19th century. Beethoven-Haus Bonn description Date circa 1783 date QS:P571,+1783-00-00T00:00:00Z/9,P1480,Q5727902 Medium oil on canvas medium QS:P186,Q296955;P186,Q12321255,P518,Q861259 Collection institution QS:P195,Q95569 Current location Collection of Ancient Musical Instruments Source/Photographer Photograph taken by the author of the painting in Die Sammlung alter Musikinstrumente, Kunsthistorisches Museum, Wien. RobertG , 24 August 2006 Licensing [ edit ] Author's note: while I license the use of my photograph of this painting under GFDL and cc-by-sa-2.5, the painting itself is more than 225 years old, the artist must have been dead well over 100 years, and hence the painting itself is surely in the public domain. I, the copyright holder of this work, hereby publish it under the following licenses: Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License , Version 1.2 or any later version published by the Free Software Foundation ; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled GNU Free Documentation License . http://www.gnu.org/copyleft/fdl.html GFDL GNU Free Documentation License true true This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license. You are free: to share – to copy, distribute and transmit the work to remix – to adapt the work Under the following conditions: attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. share alike – If you remix, transform, or build upon the material, you must distribute your contributions under the same or compatible license as the ohttps://commons.wikimedia.org/wiki/File:Thirteen-year-old_Beethoven.jpgBildnis eines unbekannten Jungen (angeblich Ludwig van Beethoven als Kind) - Fotografie, wohl von S. Geiser, nach einem anonymem Gemälde des frühen 19. JahrhundertsThis dialog enables you to activate different cookie categories or cookies from individual providers. You can change these settings at any time. Technically necessary Statistics Youtube Google Mapshttps://www.beethoven.de/en/media/view/5287570267176960/Bildnis+eines+unbekannten+Jungen+%28angeblich+Ludwig+van+Beethoven+als+Kind%29+-+Fotografie%2C+wohl+von+S.+Geiser%2C+nach+einem+anonymem+Gem%C3%A4lde+des+fr%C3%BChen+19.+Jahrhunderts?fromArchive=4823531296653312Date circa 1783MediumBildnis eines unbekannten Jungen (angeblich Ludwig van Beethoven als Kind) - Fotografie, wohl von S. Geiser, nach einem anonymem Gemälde des frühen 19. JahrhundertsThis dialog enables you to activate different cookie categories or cookies from individual providers. You can change these settings at any time. Technically necessary Statistics Youtube Google Mapshttps://www.beethoven.de/en/media/view/5287570267176960/Bildnis+eines+unbekannten+Jungen+%28angeblich+Ludwig+van+Beethoven+als+Kind%29+-+Fotografie%2C+wohl+von+S.+Geiser%2C+nach+einem+anonymem+Gem%C3%A4lde+des+fr%C3%BChen+19.+Jahrhunderts?fromArchive=4823531296653312