Assistance of another kind, not less important than the foregoing, came from André's collection. It is well known; that the Hofrath André purchased from Mozart's widow the entire collection of Mozart's original manuscripts, of printed and unprinted works, and this collection, with the exception of a few pieces disposed of at an earlier date, was preserved in Frankfort entire, in the possession of André's heirs, as denoted by a "Thematic Catalogue of the original manuscripts by Mozart in the possession of Hofrath André" (Offenbach, 1841). Leopold Mozart carefully preserved all Wolfgang's youthful works, and at his death they came into the son's possession: although not by any means so careless about his compositions as he has been represented, he, nevertheless, lost or gave away a considerable number. After his death, however, it was found that his works previous to his residence in Vienna had been preserved almost entire, and by far the greater number of those of later years. André's collection contains further the enumeration, in Mozart's own handwriting, of his works from his earliest years in almost unbroken succession to his death. The more important and greater number of his compositions previous to 1780 are still unprinted, and many of the printed ones are so carelessly edited that a comparison with the original is indispensable. The importance of André's collection is manifest, and it is probable that none of equal value, historical and artistic, exists for any other great master, whatever be his art. (Unhappily, the apprehension that Germany could conceive no worthier or more lasting way of honouring Mozart than by the erection of statues and busts has been fulfilled, and Mozart's manuscripts have already been in great measure dispersed.) Convinced that a review of Mozart's musical development would be impossible without an exhaustive knowledge of his youthful works, I repaired to Frankfort in the summer {LIFE OF MOZART.} (xviii)