storm--and melody after melody followed, and wildest outbreak of the Titan's own rugged nature, and then it cleared up into majestic strength--imposing chords of greatness--then silence. Beethoven turned and went as he had come, and long after he gave to the world what he saw and felt before these two lonely children. [Illustration: "THE MOONLIGHT SONATA." FROM THE PICTURE BY ERNST OPPLER. By permission of the Berlin Photographic Company, 133, New Bond Street, London, W. _Copyright, 1900, by Photographische Gesellschaft._] [Illustration: "BEETHOVEN AND GOETHE IN TEPLITZ." FROM THE PICTURE BY CARL RÖHLING. By permission of the Berlin Photographic Company, 133, New Bond Street, London, W. _Copyright, 1901, by Photographische Gesellschaft._] The picture entitled "Beethoven and Goethe in Teplitz" illustrates an episode which shows Beethoven in the company of Germany's greatest poet, for whom he had an enthusiastic admiration. Beethoven's was a proud nature, and he sometimes showed his pride in a manner which had nothing in common with the smooth and polished manners of the aristocratic society in which he and Goethe were wont to move. Beethoven and Goethe met at Teplitz, a Bohemian watering-place much frequented by Royalties and aristocratic society. They were walking together, when the Emperor and Empress and their suite came towards them. Goethe, standing still, hat in hand, bowed almost to the ground, as it is customary on the Continent. Beethoven pressed his hat tighter on his head, let go Goethe's arm, and tried to elbow his way through the crowd; but the Empress had seen him and greeted him smilingly as she passed on, whilst Goethe received only the courtesy accorded to every unknown person. This is the moment shown us by the artist. The expression of surprise in the faces of the Royal visitors at Goethe's obsequious politeness, the indulgent smiles which follow the irate Beethoven, are very amusing.