His mental attitude and his conduct in the world were curiously childlike. He was even unable to care for his own person; his wife attended to his clothes and cut up his meat at table. In money matters he was not a child, but a baby. Only six months after his marriage he began a long course of borrowing, in small sums, from friends and relatives, and he became later a familiar figure to the Viennese pawnbrokers and usurers. To make matters worse, he was so kind-hearted that he could not endure the sight of suffering when he had money to relieve it. The result was that he gave away freely what he had borrowed with difficulty, and sunk daily deeper in the morass of hopeless debt. His dealings with Albert Stadler, an excellent clarinetist and a wholly unreliable man, will serve as a specimen of his guilelessness. Being asked by Stadler for a loan of fifty ducats, he gave him instead two valuable watches to place in pawn, on the understanding that he should redeem them in due time. Of course Stadler did nothing about it; whereupon Mozart gave him the fifty ducats, together with interest, so that he might redeem the watches. Stadler kept the money. And what is more remarkable, Mozart seems to have cordially forgiven him, and later to have made him further loans. Mozart’s high spirits were unquenchable. A tireless jester, a graceful dancer, a good hand at billiards, clever as an impromptu poet of doggerel verses and as a deviser of practical jokes, he found in society the relaxation he needed from the severe mental concentration of composing; and there is no doubt that he gave himself up to conviviality and to frivolous amours more than would to-day be considered becoming. His fondness for wine and punch were generally known, and he himself confessed to his wife that he was not always faithful to her. But it must be remembered that in pleasure-loving Vienna, in the eighteenth century, manners were lax, and that Mozart, although by his very sensitiveness peculiarly subject to temptation, was never grossly or habitually vicious. His failings were those of a high-spirited, vivacious, ardent temperament, combined with an amiable, but not a profound character. There was no depravity in him, but there was at the same time little moral or mental elevation. His humor, which bubbled forth unceasingly, was of the flavor of the comic papers and of tavern horse-play. He used to make his friend Leutgeb, a horn-player, submit to mock penances as the price of concertos for his instrument. Once the penalty was to collect all the orchestral parts from the floor, where Mozart threw them as they were copied; another time it was to sit behind the stove until the piece was written. The score of one of these concertos bears the inscription: “Wolfgang Amadeus Mozart takes pity on Leutgeb, ass, ox, and simpleton, at Vienna, March 27, 1783.” Another is written in black, red, blue, and green ink. Mozart was fond of writing, to original doggerel words,