movement, the latter generally elaborated, and returning to the former as a conclusion.[32] It is evident that the suite was the foundation of the Italian operatic symphonies--not of our modern symphony and sonata forms--but much was doubtless borrowed from the long list of dances as embellishment to the symphony proper. Whether or not Josef Haydn was the first to introduce the minuet into the symphony, it was he undoubtedly who gave it its peculiar and typical character. The minuet was the dance of good society, affording opportunity for the display of dignity, grace, and deportment. We cannot hear those minuets which best reflect the character of the dance without thinking of powder and hoops; and now that the manners it suggests have become obsolete, it can only be humorously reproduced.[33] Haydn did not parody the minuet of his time, but he divested it of its distinguishing dignity; he took it as it was danced by the middle-classes, and filled it with national cheerfulness and good-humour. He represented a certain amount of joviality and rollicking fun which would have been inadmissible in the _salons_ of the _noblesse_, and he was inexhaustible in witty suggestions and surprises, without any taint of vulgarity or carelessness of musical treatment. This was being popular in the best sense of the word; the spirit was genuinely national, the form truly artistic; and so the minuet took its place in the symphony, and kept it. The position given to it in relation to the longer movements varied in early days; Mozart generally places it after the andante. Mozart's first symphonies have only three movements, and it is perhaps not merely accidentally that the minuet is first introduced in the symphonies composed at Vienna in 1767 and 1768, but it is sometimes wanting in later works. It is interesting to trace in his youthful works Mozart's {MOZART'S SYMPHONIES.} (297)