After all, let us remember that it is vain to measure the strides of a giant with the footsteps of ordinary men. Epoch-Makers are necessarily Law-Breakers to the eyes of their contemporaries. Years must pass before the import of their work is fully discerned. Reverting to our former simile, _we_ can see that while Beethoven's critics believed him to be rebelliously diverting the current of Harmony from the pure course directed by a Palestrina, a Bach, a Handel, a Haydn, a Mozart, he was in reality simply engaged in deepening and widening its channel, that the Stream might flow on in grander and nobler proportions to meet the ever-growing necessities of Humanity. Beethoven continued a diligent student through life; from those who had devoted special attention to any particular subject he was always eager to learn, although, as we have seen, without pledging himself to follow their views. Thus we find him in 1799 studying the art of quartet-writing more closely with Förster, who excelled in that branch of composition; and as late as 1809 he styles himself the "pupil" of Salieri, from whom, as the friend of Metastasio, and versed in the requirements of the Italian school, he often sought advice in his vocal compositions. But in addition to more purely theoretic studies, Beethoven was indefatigable in his practical investigations into the nature and capabilities of the instruments for which he wrote, and which his creative genius roused to unheard-of achievements. From Herren Kraft and Linke he learned the mechanism of the violoncello; Punto taught him that of the horn, and Friedlowsky that of the clarionet. He often consulted these artists in after life regarding the suitability of certain passages for their respective instruments, and allowed himself to be guided by their suggestions. Far otherwise was it, however, with singers; for them Beethoven composed as he liked, without humouring any little predilection of the most fascinating prima donna, or introducing a single piece for display (one reason why Rossini was able for so long to play the part of the successful rival). On the other hand, the singers had their revenge, and sang his music precisely as they listed, interpolating embellishments and cadenze _a piacere_ without the slightest regard to his wishes. The following letters to Eleanore van Breuning belong to this epoch:-- "_Vienna, Nov. 2nd, '93._ "MOST ESTEEMED ELEANORE! MY DEAREST FRIEND!--A whole year of my residence in the capital has nearly elapsed without your having received a letter from me, notwithstanding you have been continually with me in the liveliest remembrance. I have often entertained myself with the thought of you and your dear family, but oftener still I have not enjoyed the peace in doing so which I could have wished.[8]