[Footnote 37: So at least it was said; but Burney says that the Pope had copies made for the Emperor Leopold, the King of Portugal, and Padre Martini, and that the Papal kapellmeister, Santarelli, gave him a copy, which he had printed in London, 1771 (Reise, I., pp. 202, 208): he heard it again in Florence, and was offered a copy. In face of these statements, Baini's assurance (Cäcilia, II., p. 69) that no copy or score of the Miserere had ever been made, must be held to be exaggerated.] [Footnote 38: Metastasio declares (Lett., I., p. 99) that the Miserere, which had thrown him into ecstasies in Rome, made no impression at all in Vienna, performed by singers who were _secondo il corrente stilo eccellentissimi._] [Footnote 39: Metastasio, Opp. post., III., p. 258.] [Footnote 40: Burney, Reise, I., p. 241. Cramer, Magaz. d. Mus., I., p. 341. Kelly, Remin., I., p. 29.] [Footnote 41: Burney, Reise, I., p. 252. L. Mozart writes (December 22, 1770) from Milan, "Jomelli's opera has so completely fallen to the ground, that it is to be withdrawn. This is the celebrated maestro about whom the Italians make such an astounding fuss. But he was a little foolish to undertake to write two operas in the year for the same theatre, particularly as he might have seen that the first was no great success."] [Footnote 42: Dittersdorf, Selbstbiographie, p. 84: "The order is bestowed in Rome, and the members bear the title of 'Comités Palatina Romani.' They receive a diploma written on parchment, and authenticated by a great seal. They enjoy all the rights of the nobility in Rome and the Papal States, have free entry into the Papal palace, and hold the same position there as the kammerherren of other reigning courts. Their insignia is a yellow enamelled gold Maltese cross. They wear it round the neck with a purple ribbon, and sometimes a smaller one of plain gold, with a red ribbon on the breast."] [Footnote 43: Three short movements in counterpoint for four voices, with a figured bass. "Adoramus" (327 K.), "Justum deduxit Dominus," and "0 sancte fac nos captare" (326 K.), are preserved among Wolfgang's sketches in L. Mozart's handwriting. They may be examples, perhaps by Padre Martini, copied for study. Not even a conjecture can be made concerning two four-part movements, "Salus infirmorum," and "Sancta Maria" (324, 325, K.), of which only the commencing bars are preserved by André.] [Footnote 44: Burney, Reise, I., p. 166: "I must not neglect to inform my musical readers that I recognise in the son of Mozart the musician, that little German, whose precocious and supernatural talent amazed us all in London some years ago, when he was a mere child. He has been much admired, both in Rome and Naples."] [Footnote 45: Grétry, Mém., I., p. 91. Kandler, G. A. Hasse, p. 21.] [Footnote 46: Statuti ovyero costituzioni de' Signori Accademici Filarmonici di Bologna. Bologna, 1721.] [Footnote 47: Gaspari, La Musica in Bologna, p. 27.]