In personal appearance Haydn was an odd mixture of the ordinary and the unusual, of commonplaceness and distinction. The complexion, marked with small-pox, was so dark that he was sometimes called “The Moor”; the nose was strong but heavy; the lower lip thick and projecting; the jowl square and massive. Yet his dark gray eyes were said to “beam with benevolence,” and Lavater, the great physiognomist, perceived in his eyes and nose “something out of the common,” while dismissing the mouth and chin as Philistine. Of himself Haydn said: “Anyone can see by the look of me that I am a good-matured sort of fellow”; yet he confessed that the ladies, who generally found him interesting, were “at any rate not tempted by my beauty.” The explanation of these apparent contradictions is to be found in the peculiar make-up of that individuality of which the external appearance was an index. That mixture of heavy jowl and penetrative eyes bespoke the combination of a certain rudeness, primitiveness, commonplaceness of emotional nature, with rare intellectual vivacity and acumen. We have already remarked the prosaic attitude of Haydn towards men and things, as well as the purely intellectual alertness with which he observed them. His vision of the world was more that of an accountant or statistician than that of a poet. He saw simply and clearly; for him objects stood in the hard light of reason, not surrounded by any haze of reverie or atmosphere of emotion. His mental efficiency is especially striking when we consider the natural disadvantages under which it labored. Haydn was distinctly an uneducated man. The son of a wheelwright, in a petty Austrian village, he had little schooling, little early contact with men and women, little commerce with all the indefinable influences that make for cultivation of the rarer powers of intellect and spirit. He knew Italian and a little French, but never had any English until he went to London at nearly sixty. He read little, and did not care to discuss politics, science, or any art but music. He spoke always in the strong dialect of his native place. Yet by force of sheer intelligence and ability he established the art of music on a new basis. Those penetrating gray eyes saw much that was hidden from men far more happily born, far more delicately nurtured.