L. Mozart continually postponed their departure, at first with the expectation of seeing the second opera, which was much later than usual, owing to the many representations of "Lucio Silla," and afterwards under the pretext of an attack {WORKS IN GERMANY.} (144) of rheumatism, which confined him to bed. In point of fact he had, with the powerful support of Count Firmian, proferred a request to the Grand Duke Leopold at Florence that the latter would attach Wolfgang to his court. The Grand Duke at first showed gracious dispositions, and L. Mozart must have wished to continue the negotiations from Milan. Even after their ultimate failure he thought he might count on powerful recommendations from Florence, and his thoughts turned again on a great professional tour. "Only be economical," he wrote, "for we must have money if we are to undertake a tour; I grudge every penny spent in Salzburg." Towards the close of their stay a colleague from the Salzburg chapel, the horn-player Leutgeb, came to Milan, and was well received there. At the beginning of March they really set out; for they might not be absent from their places on the anniversary of the Archbishop's election (March 14). The remarkable success of the opera, and the lively interest excited by Wolfgang's person, leaves scarcely any doubt that further overtures were made to him in Italy; their non-acceptance must have been owing to the Archbishop's refusal of an extended leave of absence. FOOTNOTES: [Footnote 1: A. M. Z., 1864, p. 495. "La Finta Semplice," dramma giocoso per musica, da rappresentarsi in corte per ordine di S. A. Rev. Monsigr. Sigismondo Conte di Schrattenbach,Arcivescovo di Salisburgo, &c. Salisb., 1769.] [Footnote 2: Metastasio speaks of the different ways of delivering these. (Opp. post, I., p. 300.)] [Footnote 3: Communicated to me by Köchel, from the autograph in the possession of R. v. Pfuesterschmied, at Vienna.] [Footnote 4: Dominicus Hagenauer became "Prälat des St. Peterstifts," in 1786. [Footnote Koch-Sternfeld.] Die letzten dreiss. Jahre., pp. 78, 299, 326.] [Footnote 5: Burney, Reise, I., p. 101. Cf. the extracts from Th. Fr. Maier's description of Venice. I., 1787, in the Musik. Realzeitung, 1788, p. 108.] [Footnote 6: Zelter Briefw. mit Goethe, II., p. 177.] [Footnote 7: A remarkable exception, and a fortunate one for the development of German music, was Joseph Haydn, although even he was initiated into the Italian school through his lessons from Porpora, and his intercourse with Metastasio. But his numerous Italian operas, which he himself considered as equal to the works of any of his contemporaries, brought him no renown. His fame always rested on his instrumental compositions, which were thoroughly German; and his two great oratorios were composed at a time when Italian music was on the decline.] [Footnote 8: L. Mozart's letters during the tour, of which Nissen gives extracts, are almost all in the Mozarteum. at Salzburg.]