--taken up at once in the major, allegro, and wrought into most beautiful and expressive strains, each one growing out of the last (if I may once again use Wordsworth's magnificent word) "inevitably"; it could not be different. This is a very paltry discussion of a great matter, but no more space can be given to it here. In spite of all that has been written since Haydn drew the final double-bar of the D symphony, all the twelve are yet worth days and nights of study. All that Haydn is not may be freely granted; but when we learn to know the London symphonies we learn to realize in some degree what a mighty inventive artist and workman he was. CHAPTER VIII 1795-1809 During his stay in London, Haydn's good wife had asked him to buy her that house in the suburbs of Vienna which would come in so conveniently when he left her a widow. The request was not entirely wasted--that is, he bought the house, made some additions, and from 1797 lived in it himself. Here he composed _The Creation, The Seasons,_ and the bulk of his church music; and here he died. It is said that the notion of composing the Austrian National Hymn was suggested to Haydn by the Prussian National Hymn which George I. had brought to England with him from his beloved Hanover; but however that may be, and whether the abominable melody known then and now as "God Save the King" inspired him or not, he determined to write a tune for his countrymen, and he did. On the Emperor's birthday in 1799 the new tune was played in every theatre in the Empire. Next to the _Marseillaise_, it is certainly the finest thing of the sort in existence.