In the execution of his task, however, he showed himself by no means a mere beginner. For when, continuing their journey--to which they could give themselves up with all the more composure as the libretto was to be sent after them--they came to Bologna and there called upon the most learned musician of his age, Padre Martini, even he could do nothing but lose himself in wonder at the power of achievement of our young master, who, as Martini said, solved problems and overcame difficulties which gave evidence both of innate genius and of the most comprehensive knowledge. Wolfgang here became acquainted with the greatest singer of his time, the sopranist, Carlo Broschi, known as Farinelli, and received from him as a last legacy the Italian art of _bel canto_; for, said he, only he who understands the art of song in its highest sense, can, in turn, properly write for song. And yet this vocalist was already in the sixties. Florence was still governed by the Hapsburgs, and hence the best of receptions was given to our travelers there. Of the magnificent works of art in the place, the letters to his mother and sister do not say anything. But we can scarcely suppose that the _Venus Anathusia_ and the _Madonna della Sedia_ remained unknown to him who was alone destined to give life to Raphael and the antique, even in tones. Mozart’s own letters from Rome do not leave us in the dark on this point. He writes to his sister: “Yesterday we were in the Capitol and saw many beautiful things, and there are, indeed, many beautiful things there and elsewhere in Rome”--Laocoon and Ariadne, the Apollo Belvedere and the head of Olympian Jove. And then the many churches, and among them a St. Peter’s! But naturally enough, the music remained the most remarkable thing of all to the two musicians; and then there was the Sistine Chapel, in which alone something of the art of the great Romans still lived and ruled. Of Palestrina we hear nothing in this connection, but Wolfgang went so far as to make a copy of Allegri. “You know,” the father writes, “that the Miserere sung here is esteemed so highly that the musicians of the chapel are forbidden, under pain of excommunication, to copy any part of it, or to give a part of it to anybody. But we have it. Wolfgang has written it down from ear. However, we do not wish this secret to come into anyone’s else possession, lest we should incur the censure of the Church directly or indirectly.” The Mozarts, indeed, attached some importance to their faith in the Catholic Church. To them it was intrinsic truth. And thus Wolfgang’s youthful soul was forever consecrated, for the reception of the highest feelings of the human breast, by the peculiarly sacred songs sung during this holy week in Rome--feelings which, even in compositions not religious, he, in the course of his life, clothed in sounds so beautiful and enrapturing. In after years, he was wont to tell of the deep impression made on him by these incidents in