eir confidence and affection. The title of 'Papa
Haydn,' by which he was known both to young and old during his
lifetime and with which his memory has ever since been coupled, was
the natural outcome of the universal affection in which he was held by
all classes. He was the 'father' of his chapel, sympathising with them
in their difficulties, and interceding in their behalf with the Prince
whenever occasion arose. In the same way his interest went out to all
young and struggling men of talent, to whom he gave advice and help.
But the title 'Papa Haydn' may claim to possess a further significance
in its use at the present time, 'as if musicians of all countries
claimed descent from him.'

Along with his indomitable industry went a love of order and method by
which every action was ruled, every habit framed. He rose very early
to begin work, for Nature seemed sweetest to him in her waking hours;
but he would never put a pen to paper or see a visitor until he was
fully dressed; and even when old age prevented his leaving the house
he maintained the same degree of punctiliousness in regard to his
appearance. His devoutness formed an indissoluble part of his nature,
and he regarded his genius as a gift of God which he was bound to use
thankfully for the benefit of mankind and to the glory of Him who gave
it. He never wrote a score without the words 'In nomine Domini'
appearing as an inscription, whilst 'Laus Deo' came at the end.

Haydn's love of humour is brought out in many of his compositions,
notably in the 'Surprise Symphony,' where the drums come in with a
tremendous bang at the end of the _andante_ movement. He is said to
have invented this part in order to arouse the attention of the
audience and make the ladies scream. Again, in the 'Toy Symphony,' he
shows a child-like appreciation of drollery in producing genuine music
out of such toy instruments as tin whistles, jew's-harps, toy
trumpets, etc. The 'Toy Symphony' was composed at Eisenstadt, where,
having visited a village fair and purchased a number of toy
instruments, Haydn was seized with the idea of making his orchestra
play upon them--an order which upset their gravity so much that they
could hardly keep time for laughing. A little story illustrative of
his love of fun may be told here. During his second visit to London he
came in contact with a certain amateur violinist whose professed
fondness for the extreme upper notes of his instrument was such as to
in