“‘Even without prompting, people of the better kind think of each other, this is the case with you and me, dear and honored Therese; I still owe you grateful thanks for your beautiful picture and while accusing myself as your debtor I must at the same time appear before you in the character of a beggar in asking you if perchance you feel the genius of painting stirring within you to duplicate the little hand-drawing which I was unlucky enough to lose. It was an eagle looking into the sun, I cannot forget it; but do not think that I think of myself in such a connection, although it has been ascribed to me, many look upon a heroic play without being in the least like it. Farewell, dear Therese, and think occasionally of your truly revering friend Beethoven.’” Therese complied with Beethoven’s request. On February 23 she admonished her sister: “My request to you, dear Josephine, is to reproduce that picture which you alone are able to do; it would not be possible for me to create anything of the kind.” And later she repeats in French: “You have told me nothing about Beethoven’s eagle. May I answer that he shall receive it?” If the picture referred to by Beethoven in his letter to the Countess was in his possession before February 11, 1811, as appears from the Countess’ letter to her sister, how came it to be in the hands of Count Brunswick in July? Here is another unsolved riddle. [85] This letter, in French with Beethoven’s autograph signature, is preserved in the British Museum. The cantata referred to was to have been a setting of Campbell’s “Battle of the Baltic.” Returning to England from the Continent in 1801, the poet saw the preparations for the Battle of Copenhagen. Campbell was highly esteemed in Germany, especially by Goethe and Freiligrath, the latter of whom imitated his “The Last Man.” [86] It was four months before the performance took place. [87] Fare well. [88] Nottebohm contends that the book extends from the end of 1811 to the beginning of 1813. See “Zweit. Beeth.,” pp. 289, 290. Chapter XII The Year 1812--Beethoven’s Finances--The Austrian “Finanzpatent”--Beethoven and Graz--Second Sojourn in Teplitz--Beethoven and Goethe--Amalie Sebald--Beethoven in Linz--Meddles with his Brother’s Domestic Affairs--Rode and the Sonata, Op. 96--Spohr--Mälzel and his Metronome--The Canon to Mälzel. Beethoven must again, for the present, be made his own biographer. The selections from his correspondence taken for this purpose will all gain in interest and perspicuity by first giving the notes to Zmeskall and the Archduke so as to afford a sort of background for the more important ones, and by introducing here the explanations which numerous allusions demand in a short series of observations. Schindler writes in 1840: