from one of his scores, with its “In Nomine Domini” at the beginning, and its “Laus Deo” at the end, to read in our newspaper that another Croatian village has risen in revolt upon the bare report of an ecclesiastical change. His temper, it may be, had grown more equable than that of his uneducated countrymen; it had not lost anything of their loyalty. [17] It is fair to state that some etymologists derive the name Haiden from the district “Auf der Haid” near Hainburg. But this is very unlikely. The district is a narrow stretch of moorland, and could not account for the prevalence of the name through the whole country-side, to say nothing of the frequent occurrence in Croatia proper. [18] Its second title, “Trstnik,” is significant enough. And at the present day it contain a good many Croats, especially among the poorer inhabitants. [19] In like manner Pìlar has been Germanised into Piller, Solar into Soller, Kresar into Kresser, and so on. See a list of such changes in Kuhač’s Josip Haydn, pp. 17, 18. [20] To je lovac i ribar kao Haydn; _i.e._, as good a shot and fisherman as Haydn. [21] See instances quoted by Dr. Kuhač, Josip Haydn, pp. 27-29. The reasons which have led to this indication of detail may easily be misunderstood. It is not, of course, contended that any race has the monopoly of these characteristics, or that it differs ethically from its neighbours except by the very important fact of the proportion in which they are blended. But when it appears that the more we study Haydn, and the more we study the Slavonic character, the closer becomes the accord between them, when every feature of the one finds its parallel in the prevailing qualities of the other, then we may surely infer that to the antecedent probability some weight is added by this estimate of internal evidence. And probability will strengthen to certitude if we realise that Haydn’s music is saturated with Croatian melody, that the resemblances are beyond question, beyond attribution of coincidence, beyond any explanation but that of natural growth. Some of his tunes are folksongs in their simplest form, some are folksongs altered and improved, the vast majority are original, but display the same general characteristics. He would stand wholly outside the practice of the great composers if he wrote, by habitual preference, in an idiom that was not his own.