To propitiate him for the humiliation which he had suffered, the bust of his patron had to become a sacrifice; he dashed it into pieces from its place on a cabinet to the floor. Alois Fuchs recorded an anecdote which illustrates the feeling which made Beethoven so unwilling to play before the French officers. After the battle at Jena (October 14, 1806) Beethoven met his friend Krumpholz, to whom he was warmly attached, and, as usual, asked him, “What’s the news?” Krumpholz answered that the latest news was the report just received that the great hero Napoleon had won another decisive victory over the Prussians. Greatly angered, Beethoven replied to this: “It’s a pity that I do not understand the art of war as well as I do the art of music, I would conquer him!” A very natural query arises here: how did Beethoven meet the expenses of these costly journeys? In answer it may be said that there is good reason to believe that he borrowed and used his brother Johann’s scanty savings. [Sidenote: THOMSON AND SCOTTISH SONGS] A letter by Beethoven, dated November 1, introduces a new topic. At the time of the Union of the Kingdoms of England and Scotland, 1707, a “Board of Trustees for the Encouragement of Arts and Manufactures in Scotland” was established. About 1785 George Thomson became its Secretary. He had some knowledge of musical science, and was an enthusiastic lover of Scottish airs and melodies. His official position brought him into correspondence with educated and influential people in all parts of the kingdom, and afforded him singular facilities for the execution of an early formed project--that of making the most extensive collection possible of the music of Scotland. Many compilations, various in extent and merit, had been published, but all of them, as Thomson justly remarks, “more or less defective and exceptionable.” In one of his prefaces he says: To furnish a collection of all the fine airs, both of the plaintive and the lively kind, unmixed with trifling and inferior ones--to obtain the most suitable and finished accompaniments, with the addition of characteristic symphonies to introduce and conclude each air--and to substitute congenial and interesting songs, every way worthy of the music, in the room of insipid or exceptionable verses, were the great objects of the present publication.... For the composition of the symphonies and accompaniments, he entered into terms with Mr. Pleyel, who fulfilled part of his engagement satisfactorily; but having then stopped short, the editor found it necessary to turn his eyes elsewhere. He was so fortunate, however, as to engage Mr. Koželuch, and afterwards, Dr. Haydn, to proceed with the work, which they have finished in such a manner as to leave him nothing to regret on Mr. Pleyel’s breach of engagement, etc., etc.