The last musicologist to see the original canon-pictures was apparently Eusebius Mandyczewski, who says: ‘At Eisenstadt [the Esterházy family’s principal residence] there are still [1891] preserved Haydn’s presentation canons – as copies – in slender wooden frames, those that he hung on the walls of his room.’ Mandyczewski, a Haydn authority, recognised that the hand in the canon-pictures was not the composer’s, strengthening a claim made in 1811 by Johann Elßler, Haydn’s servant and copyist, that he had copied their music directly from autographs. Mandyczewski’s observation that the frames were ‘slender’ suggests that Haydn adopted a style of framing favoured by collectors of prints, which the composer would have seen in London and which was much imitated in Germany in the later eighteenth century.