Brahms, who had, as we have seen, a long-standing acquaintance with Feuerbach and sincerely admired his powers, mounted the many flights of stairs leading to the artist's temporary studio more than once. His attention was particularly called to the 'Battle of the Amazons,' on which, as it was to be exhibited first, Feuerbach was busy with the finishing touches. He mentioned it several times in a reserved manner to Groth, who was in Vienna for the Exhibition, saying he was anxious to have his opinion of it, and persuaded him to pay a visit to the studio one day to be presented to Feuerbach. Groth, however, on coming away, found that he was unable, as Brahms had been, to express himself warmly about the great painting, and merely agreed with our master in 'not understanding' it. Brahms, intimately acquainted with the artist circles of Vienna, evidently could not shake off his apprehension as to the result of the exhibition, and took an opportunity of speaking a word of warning to Feuerbach, advising him to be cautious, and to introduce himself to his new public with a smaller work. The integrity of the composer's ideas of friendship and the misunderstanding of his motives which was its frequent result, as well as the general soundness of his judgment in matters on which he ventured to give advice, are well illustrated by the affair. His words produced an immediate effect very different from that intended by him. The wound they inflicted on the irritable susceptibility of the painter was so painful as to deprive him of the power of concentrating his mind upon the 'Amazons' for several subsequent days, and he found it impossible to go on with Brahms' portrait. 'Another evening spoilt by Brahms,' he wrote on November 3; and again: 'I was not for a second angry with Brahms, but I have put his canvas aside for the present.' It was never taken up again. The pictures were duly exhibited in turn, and it may be said that the final breakdown of Feuerbach's never robust constitution was the ultimate result. Not criticism only or even chiefly, but torrents of contempt, derision, insult were poured upon his work. 'A storm broke over my head by which I could at least reassure myself as to the importance of my pictures. I could not sit down to table without finding jests, raillery, caricature--unfortunately always bad--beside my plate, and the story of my discomfiture was related in the house from roof to cellar. I was told that everyone, from the professor to the porter's boy, was laughing at my bad picture.' 'Almost the entire press, independent and mercenary alike, was arrayed against Feuerbach,' says Allgeyer.