We have heard himself complain of the theatre, the parlor, and the orchestra. A wandering troupe performed in the theatre during the winter. The court-concerts were limited to, at most, an hour, during which several pieces had to be performed. Masses, even the most solemn, were not allowed to be longer than three-quarters of an hour. Moreover, the orchestra was a small one, without as much as even a clarionet. That, notwithstanding all this; that thus confined and narrowed, and with means thus limited, Mozart was able to produce works such as we possess in his masses, symphonies, and chamber music--works which far surpass those of his contemporaries, and find a worthy place by the side of the music of the same kind by Joseph Haydn, is a triumph which bears eloquent testimony to his industry and genius. But he could never be satisfied in Salzburg. That same genius urged him out into a purer atmosphere, in which action such as he was capable of, becomes possible, in which he might come in contact with men of culture. His resolve was made. The world was before him, and he said to himself: Go forth! But in his way stood, bold and dark, the “---- ----” to whom they had, as Mozart writes, returned soon enough, the “Mufti,” as he called the man “with the keen glance from his grey eyes, the left of which was scarcely ever entirely open, and the rigid lines about the mouth”--Archbishop Jerome Colloredo. This man really could not appreciate how much he possessed in Mozart. “Let them only ask the archbishop, he will put them immediately on the right path,” Wolfgang writes, on one occasion, referring to him concerning a concert which had met with unusual success in Mannheim. The principal cause of complaint, however, was the archbishop’s niggardliness. He was thus rigorous with those in his employ, lest they should make any claims upon him. Mozart wrote, at a later period: “I did not venture on contradiction, because I came straight from Salzburg, where the faculty of contradiction has been lost by long abstinence from using it.” Whatever he composed was wrong, found fault with, and unsparingly. On one occasion, the archbishop had the face to tell Mozart that he did not understand anything of his art, and that he should first go to the Conservatory at Naples to learn something about music, and this to Mozart, the Academician of Bologna and Verona, the far-famed composer of operas! We are informed that he never flattered Mozart except when he wanted something; and Leopold told Padre Martini that, otherwise, the archbishop never paid Wolfgang a farthing for his compositions.