Some of the anecdotes and particulars supplied by the widow and sister or resulting from his own observation were published in the "Allgemeine Musikalische Zeitung" (A.M.Z., Vol. I., pp. 17,49,81,113,145,177,480; Vol. II., pp. 450, 493, 590), and Rochlitz often alluded in later issues to his acquaintance with Mozart; but there it remained, and I have failed to discover why he abandoned his idea of a biography. When Nissen's biography appeared he complained that he had not been called into counsel by Mosel, and was of opinion that "the widow must have changed very much in her old age, if she was not proved to have acted shabbily in this affair" (Vienna, A.M.Z., 1848, p. 209). I set on foot investigations as to whether Rochlitz had left behind any records or communications which, springing from now exhausted sources, might be of service to me in my work. This led to a discovery which, painful as it is to me to cast a slur on the memory of an otherwise deserving man, I must yet, in the interests of truth, reveal; I could not fail to observe that those particulars of Mozart's life which Rochlitz gives as the result of his own observation or as narrated to him by Mozart, are peculiar to himself in form and colouring, and that many of the circumstances which he relates with absolute certainty are manifestly untrue. I sought to account for these facts as slips of memory or the result of that kind of self-deception which confounds a logical inference with a fact springing from it. But my search led to the further discovery of a parallel (also printed in the A.M.Z.) between Mozart and Raphael, giving a detailed account of the circumstances of Mozart's marriage, and with express reference to Mozart's own narrative of the affair which Rochlitz was supposed to have written down the same night. Now for the period which is here treated of, that {INTRODUCTION.} (v) is, between 1780 and 1783, Mozart's entire correspondence is preserved, and any error upon essential points is, as you will readily grant, impossible. All the statements of Rochlitz as to time, place, persons, and events are completely false. You will remember my consternation at this unwelcome discovery; no poetical license could account for it; unpleasant as it is, I consider it my duty to expose the affair, partly that it may teach caution, and partly that tedious and vexatious discussion may be avoided, should the narrative in question ever be printed. These anecdotes from the A.M.Z., together with the information of Schlichtegroll and Niemetschek have formed the chief material for the more or less complete accounts of Mozart which afterwards appeared; what was added consisted partly of anecdotes, generally badly authenticated and often ill-turned, such as gain currency among artists, and partly of phrases, or turns of speech which, as Zelter says, every one makes for himself. I must not spare you the enumeration of some of the works of this class.