The nobility followed the example of the court, and avoided any appearance of extravagance in order to ingratiate themselves with the Emperor. Dancing was the only amusement during the carnival, but, whereas, formerly the nobles vied with each other in costly entertainments, at which distinguished artists were nearly always present, they now gave their balls in public rooms and at small expense. L. Mozart suspects that the court made its advantage by this, contracting for all dances, masquerades, and balls, and sharing the profits with the contractor. Under these circumstances, the good recommendations Mozart had brought with him were of little use. He had letters to the Master of the Horse, Count von Dietrichstein, who was high in the Emperor's favour, to Fräulein Josepha Guttenberg, "the Empress's right hand," and to the court physician, L'Augier,[4] a travelled and accomplished man of considerable talent, and excellent judgment in music; all that was refined and cultivated in Viennese society flocked to his assemblies. Among Mozart's patrons was also Duke Joh. Carl v. Braganza, a man of the first importance, who had proved his spirit and courage at the earthquake of Lisbon, and as a volunteer in the Austrian army;[5] frequent travels had increased his knowledge and enlarged his views;[6] he was an excellent companion and a thorough musical connoisseur.[7] Gluck dedicated to him his "Paride ed Elena" (1770), and in the well-known dedication explained that he sought in the Duke, not so much a patron as a judge, of thorough knowledge, fine taste, and unprejudiced opinions. The Mozarts were further favourably noticed by Prince Kaunitz, an elegant connoisseur, but a man of such exaggerated anxiety on the subject of his health, that he would not admit Wolfgang into his presence as long as the traces of the small-pox remained on his face. {MUSIC IN VIENNA, 1768.} (67) But the Viennese generally were not enthusiastic for art. Leopold Mozart gives the following account of them:-- The Viennese public, as a whole, has no love of anything serious or sensible; they cannot even understand it; and their theatres furnish abundant proof that nothing but utter trash, such as dances, burlesques, harlequinades, ghost tricks, and devil's antics will go down with them. You may see a fine gentleman, even with an order on his breast, laughing till the tears run down his face, and applauding with all his might some piece of senseless buffoonery; whilst in a most affecting scene, where the situation and action are alike irresistibly fine and pathetic, and where the dialogue is of the highest order, he will chatter so loud with a lady that his better-informed neighbours can scarcely hear a word of the play.