The evidence here briefly epitomised can only point to one of two conclusions: either that the law of nationality is inapplicable to Haydn, or that his assignment to the German race is an ethnological error. The former alternative is unsatisfactory enough; the latter was for many years put out of court by our inability to sustain the _onus probandi_. But in 1878 Dr. Kuhač began to publish his great collection of South Slavonic melodies,[1] and in 1880 he supplemented it by a special pamphlet on Haydn’s relation to them.[2] The main points of the thesis are three in number: first, that the Croatian folk-tunes possess all the characteristics which have been noted as distinctive in the melodies of Haydn; second, that many of them are actually employed by him; and third, that the facts of his birth and parentage afford strong presumptive proof that he was a Croatian by race.[3] If this contention can be established it strengthens an important law with valuable and unexpected support, and it remains therefore that we should bring forward a critical statement of the case, beginning, for clearness’ sake, with the historical and biographical testimony, and so bringing into prominence the special character of the compositions themselves. [1] Južno-slovjenske Narodne Popievke: Zagreb, 1878-1881. [2] Josip Haydn i Hrvatske Narodne Popievke; reprinted from the Vienac, Zagreb, 1880. [3] As early as 1862 the Lumír put in a claim for Bohemia. This was a step in the right direction, since it represented Haydn as a Slav, but the evidence preponderates in favour of a more Southern origin.