s of his
absorption in this work: "He actually seemed possessed, especially
during the composition of the Credo." It was while he was at work on
this portion of the Mass, notably the great fugue, et vitam venturi (the
life everlasting), that Schindler called on him one afternoon, but could
not gain admission. He knew the master was at home as he could hear him
stamping and shouting, singing the different parts as if mad. Finally
the door was opened and Beethoven appeared. He was faint from hunger and
overwork, having eaten nothing since the previous noon. His servants
had, indeed, prepared some food for him the previous day, but he was too
much interested in his work to think of it, and they were afraid to
urge it on him, or indeed, go near him, while in the stress of
composition. He had worked the previous night until overtaken by
exhaustion and on awaking in the morning had at once resumed his work,
continuing it until interrupted by Schindler's arrival.

A work so transcendental in character as is this, calls for close and
sympathetic study even to get an approximate understanding of its
marvels. It is a characteristic of works of this nature, that although
not easily comprehended, they are likewise not readily exhausted. Much
study, many renderings only serve to bring out new values. Only by
bringing to them of our best will they be revealed.

It must have been with a feeling of relief that he finally delivered a
copy of the Mass complete into the Archduke's hands in March of 1822,
just two years after the Installation.

Beethoven wrote the sovereigns of Russia, France, Prussia and Saxony,
proposing a subscription of fifty ducats, about $115 each, for the Mass.
The first acceptance came from Prussia. One of the minor officials in
Vienna was commissioned by Prince von Hatzfeld, the Prussian Ambassador,
to ask Beethoven if he would not prefer a royal order instead of the
fifty ducats. Beethoven's reply was characteristic. Without a moment's
hesitation he said with emphasis, "fifty ducats!" showing the slight
value he placed on distinctions of this kind. A reply that must have
gratified him very much was that received from the King of France. In
his letter to him, Beethoven refers to the Mass as "_L'oeuvre le plus
accompli_." Louis XVIII, not only forwarded his acceptance (and the
fifty ducats), but had also a gold medal struck off, containing his
portrait on one side, and on the other, the following inscription:
"_