Amid the tumult of the enraptured audience the old composer was seen striving to raise himself. Once on his feet, he mustered up all his strength, and, in reply to the applause of the audience, he cried out as loud as he was able: "No, no! not from me, but," pointing to heaven, "from thence--from heaven above--comes all!" saying which, he fell back in his chair, faint and exhausted, and had to be carried out of the room. One year after this Vienna was bombarded by the French, and a shot fell in Haydn's garden. He requested to be led to his piano, and played the "Hymn to the Emperor" three times over with passionate eloquence and pathos. This was his last performance. He died five days afterward, aged seventy-seven, and lies buried in the cemetery of Gumpfenzdorf, in his own beloved Vienna. VI. The serene, genial face of Haydn, as seen in his portraits, measures accurately the character of his music. In both we see health fulness, good-humor, vivacity, devotional feeling, and warm affections; a mind contented, but yet attaching high importance to only one thing in life, the composing of music. Haydn pursued this with a calm, insatiable industry, without haste, without rest. His works number eight hundred, comprising cantatas, symphonies, oratorios, masses, concertos, trios, sonatas, quartets, minuets, etc., and also twenty-two operas, eight German and fourteen Italian. As a creative mind in music, Haydn was the father of the quartet and symphony. Adopting the sonata form as scientifically illustrated by Emanuel Bach, he introduced it into compositions for the orchestra and the chamber. He developed these into a completeness and full-orbed symmetry, which have never been improved. Mozart is richer, Beethoven more sublime, Schubert more luxuriant, Mendelssohn more orchestral and passionate; but Haydn has never been surpassed in his keen perception of the capacities of instruments, his subtile distribution of parts, his variety in treating his themes, and his charmingly legitimate effects. He fills a large space in musical history, not merely from the number, originality, and beauty of his compositions, but as one who represents an era in art-development. In Haydn genius and industry were happily united. With a marvelously rich flow of musical ideas, he clearly knew what he meant to do, and never neglected the just elaboration of each one. He would labor on a theme till it had shaped itself into perfect beauty.