Another of the portraits of Beethoven which have been made familiar by reproductions was painted in 1820, though begun in 1819. Joseph Stieler, who enjoyed wide reputation as a portrait painter, had come to Vienna from Munich to paint the portrait of Emperor Franz in the latter year. He remained till some time in 1820 and made the acquaintance of Beethoven through a letter of introduction probably given to him by Brentano. Beethoven took a liking to him and gave him some sittings--three, according to the testimony of the painter himself, thus disproving Schindler’s statement that “sitting after sitting was granted and never a complaint uttered.” On the contrary, the Conversation Book presents the artist as pleading for a little more time; and because Beethoven refused to sit longer, Stieler had to exercise his imagination or memory in painting the hands. In fact, the painting never received the finishing touches but remained, as those who have seen it testify, “sketchy.” In March Stieler writes in the Conversation Book: “Have you written to Frankfort that I have begun your portrait?--You must determine the destination of the picture. I say that I am painting it for myself.” In April Stieler asks the question: “In what key is your mass? I want to write on the sheet: (Mass in--)” Beethoven writes the answer: “_Missa solemnis in D_,” and Stieler: “After it has been exhibited I shall send it to Brentano--I thank you thousands and thousands of times for so much patience.” Beethoven’s friends refer frequently to the picture in their written conversations with Beethoven. One says: “That you have been painted _en face_ is the result of more extended study of your physiognomy. This view shows your spirit much better than a profile.” Schindler writes that he prefers the portrait by Schimon: “There is more character in it--all agree on that--You were very well two years ago; now you are always ailing.” J. Czerny writes: “We were just talking about your portrait. Oliva thinks you are well hit off.” The artist visits Beethoven again at Mödling in July and writes: “Before the exhibition I shall paint your portrait again, but full life-size. Your head makes an excellent effect full face, and it was so appropriate because Haydn was on one side and Mozart on the other.” Stieler dated the canvass “1819,” but this can only refer to the time when it was begun. It remained for a while in the possession of the family of the painter, then passed through several hands by purchase until it reached those of Countess Sauerma in Berlin, in whose possession it was when Frimmel and Kalischer inspected it for purposes of description. Schindler says it reproduces Beethoven’s characteristic expression faithfully and that it met with approval, though fault was found with the pose. Beethoven’s contemporaries were not used to see him with his head bowed down as Stieler represents him; on the contrary, he carried his head high even when suffering physical pain.