On July 10, they left Rome, where Pomp. Battoni had painted a fine portrait of the young maestro, and travelled by way of Cività Castellana, Loretto, and Sini-gaglia to Bologna. They arrived on July 20, intending to remain here quietly until the completion and rehearsal of his opera should render Wolfgang's presence in Milan indispensable. L. Mozart's injured leg was still troublesome, and he was otherwise unwell, so that the friendly invitation of Count Pallavicini, to pass the hot season at his country-house in the neighbourhood of Bologna, was joyfully accepted. They found the coolest, best-appointed rooms prepared for them; couriers and servants were placed at their disposal, and their intercourse with the noble family was pleasant and unrestrained. The father was most carefully tended, and Wolfgang struck up a firm friendship with the young Count, who was just his own age, played the piano, spoke three languages, had six tutors, and was already a chamberlain. {THE ITALIAN TOUR.} (126) Wolfgang composed industriously, and writes to his sister about four Italian symphonies, five or six songs, and a motett, which he had written. His only distress was that he had lost his singing voice; he had not five clear notes left, either high or low, and could no longer sing his own compositions. At Bologna they made the acquaintance of the operatic composer, Joh. Misliweczeck (1737-1781), who was finishing an oratorio for Padua, and was to write the opera in Milan for 1772. "He is an honest man," writes L. Mozart, "and we have become great friends." But their principal intercourse was with Padre Martini, with whom they became very intimate, visiting him daily, and holding long musical discussions. The discourse and instruction of the great contrapuntist could not be without influence on Wolfgang's work. A list of sketches in difficult contrapuntal forms, which according to the handwriting belong to this time, must have been studies suggested by Padre Martini. Of peculiar interest is a three-part Miserere for alto, tenor, and bass, with figured Continuo, superscribed _Del Sigr. Caval. W. A. Mozart, in Bologna_, 1770 (85 K.). It is evidently written under the influence of Allegri's Roman Miserere, generally harmonic, with some few imitative introductory passages, simple and very beautiful. The three last movements, Quoniam, Benigne, Tunc acceptabis, are written by another hand, and evidently not composed by Mozart; the subjects are severer and more simple. Probably Padre Martini wound up the youth's exercises by these movements of his own composition.[43] The Philharmonic Society of Naples, whose festival performance Mozart had attended in company with Burney,[44] {ELECTION TO THE ÀCCÀDEMIA FILARMONICA.} (127)