Leopold Mozart speaks of a Gradual with which he had been much pleased as being the work of "the celebrated long-since deceased Lotti" (November 13, 1777). But we have seen with what zeal Mozart studied in Italy; and a youth with his genius learned rapidly, and could at once apprehend and retain whatever would be likely to benefit him. He must also have taken home with him from Italy much material for future use, as we have seen in the case of the compositions of Padre Martini. But what direction these studies took, and how far they extended, we are not informed. It is not probable that Mozart studied the old masters with the intention of forming his own style on theirs, but rather that he might gain that surer practice in technicalities which the tasks before him required. THE FOOTNOTES OF CHAPTER 13 [Footnote 3: Schubart, Teutsch. Chron., 1775, p. 408; Dressier, Theaterschule, p. 42.] [Footnote 4: J. E. Altenburg, Anleitg. zur heroisch-musik. Trompeter- Pauker-Kunst. (Halle, 1795,1., p. 26).] [Footnote 5: [Schinn und Otter] Biographische Skizze von Michael Haydn (Salzburg, 1808).] [Footnote 6: K. R[isbeck] expresses himself to the same effect, Briefe e. reis. Franz, I. p. 357. Michael Haydn became very industrious later in life.] [Footnote 7: Wolfgang says of Schweizer (December 3, 1777), that he is as "dry and sleek as our Haydn, only his language is more refined."] [Footnote 8: This book (mentioned in Cäcilia IV., p. 290) contains the following scores, in Mozart's handwriting:-- M. Haydn, In Te Domine speravi, fuga, a 4 voci, 2 viol., org. Eberlin, Missa canonica, a 4 voci, org. Eberlin, Hymnus, Recessit Pater noster, a 4 voci. Eberlin, Hymnus, Tenebræ factæ sunt, a 4 voci, org. Eberlin, Graduale pro dominica in palmis, Tenuisti a 4 voci, org. Eberlin, Offertorium pro dominica in palmis Improperium, a 4 voci, org. Eberlin, Communio pro dominica in palmis, Pater si potest, a 4 voci, org.] M. Haydn, Tenebræ, a 4 voci, org. Eberlin, Three Motetti. In nomine Domini; Christus factus est; Domine Jesu, a 4 voci. M. Haydn, Ave Maria, pro adventu Domini, a sopr. solo c. rip. Eberlin, Benedixisti, a 4 voci, org. Eberlin, Cum Sancto Spiritu, fuga, a 4 voci. Eberlin, Kyrie, fuga, a 4 voci. Eberlin, Cum Sancto Spiritu, fuga, a 4 voci.] [Footnote 9: Frz. Lorenz's "Haydns, Mozarts und Beethovens Kirchenmusik und ihre katholischen und protestantischen Gegner," is a plea for impartial judgment. Breslau, 1866.] [Footnote 10: Cf. A. M. Z., XXIII., p. 683.] [Footnote 11: Marpurg, Krit. Beitr., III., p. 195.] [Footnote 12: A similar disposition is described by Mattheson (Neu eröff. Orch., I., p. 158).] [Footnote 13: A short account is given by L[orenz], Deutsche Mus. Ztg., 1862, p. 265.] [Footnote 14: The text of the masses and of other important church compositions is given in Appendix VI. [to the German original of this work].] [Footnote 15: They are denoted in the text by large initial capitals.]