But Rosa Cannabich “a very sweet and beautiful girl,” as he writes of her himself, fettered him with the complete irresistibleness of her innocent charms more than could even this blooming flower. And this was the beginning of those sweet love-songs which now flowed in pure tones from his poet-heart; and, hence, this event marks a period in our artist’s life. He writes, shortly after his arrival in Mannheim: “She plays the piano very sweetly, and to make him (the father) a fast friend, I am writing a sonata for mademoiselle, his daughter.” When the first _allegro_ was finished, a young musician asked him how he intended to write the _andante_. “I shall fashion it after mademoiselle Rosa’s character,” he answered; and he informs us further: “When I played it, it gave extraordinary satisfaction. It is even so. The _andante_ is just like her.” What was she like? A painter subsequently wrote of her thus: “How many such beautiful, priceless hours did heaven grant me in sweet intercourse with Rosa Cannabich. Her memory is an Eden to my heart;” and Wolfgang now wrote of her that, for her age, she was a girl of much mind, and of demure and serious disposition, one who said little, but that little in an affable, nay, charming manner. In Naples stands Psyche, a rose just opening. Mozart possessed the same refined, antique feeling for the soul-statue of man. Here, before his clear-seeing artist eye, the bud that in it lay was fully blown. This fruitful heart-life was destined soon to sow deeper germs in his own soul, and to cause his own art to bloom fully forth. Here, accordingly, we discover one of those turning points in the development of Mozart’s inner nature, which had much to do with his intellectual growth, inasmuch as his passion disclosed to him for the first time the meaning of the homely truth, that both life and art are serious things. We proceed to show how this effect was produced.