The case is dissimilar with his treatment of the “manieren.”[102] On their employment he writes as follows: “No man, assuredly, hath doubted concerning the necessity of ‘manieren.’ We can observe it herefrom, that we meet them everywhere in great abundance. Everywhere are they indispensable, if one considers their use. They hang the notes together, and give them life; they give them, if it be necessary, a particular energy and weight; they make them pleasing and therefore awaken a peculiar attention; they assist to make clear what is their meaning, which may be sorrowful or glad or otherwise disposed, as it pleaseth, yet do they contribute of their own thereto; they give a notable part of opportunity and material to the true execution; a moderate composition can by them be aided, as without them the best air is empty and monotonous, and the plainest meaning must appear throughout obscure.” This is a judgment which surprises us in a man so intelligent and advanced as Philip Emanuel. He has not yet perceived that ornamentations were in his time only the relics of an earlier style. An appoggiatura, which takes away half or two-thirds of its note, and thus becomes a mere melodious retardation, or a double-shake which completely disintegrates its note, and requires to be expressed by an antiquated stenographic mark, is already a mere fossil in a period which gives such independence to the melody. It is not the notes which then appear which are fossil, but their arrangement as decorations. What had originally been truly decoration, in the heyday of figuration, had, in the course of the eighteenth century, long become an emancipated melodic phrase. The idea of the retardation, which earlier veiled itself under the name of appoggiatura with suspended main-note, was not allowed to step in openly; and the doppelschlag[103] or the trill could say plainly what they were, without masquerading as modest satellites of some main-note or other. Had Philip Emanuel but had the courage to discard the old signs, and to hear the customary ornamentations as independent music, he would have been able to spare himself much dead weight, to avoid much confusion, and to get rid of the trammels of many dead traditions, which have come down even to our day. He has in his book exhibited a stirring knowledge and an individual treatment of the “manners”; yet he was forced to maintain an arbitrary distinction between the “manners” and the other figurations, although between the turn and any other melodious line-curve there is no longer any essential difference whatever. He has not been able to introduce any system into the relation of the appoggiatura with its note; and, because he saw that the effect of the appoggiatura could be produced equally well without the little note, he has been obliged to take refuge in the sentence: “The appoggiaturas are partly written like