nature, because it not merely puts before his eyes in general features a representation of the bodily form of man, but suggests to him the totality of the muscular movements which are in a living body in incessant activity. It is in art as in nature: the further we penetrate the fewer and less complex become the governing forces and impulses. Many details may be considered as trifling until it is asked whether they, in their place, have the required effect as part of the whole. When a work of art gives an effect of an artistic whole, in a way which cannot be explained by a consideration of its apparently insignificant parts, this may be taken as the surest proof that the artist worked downwards from his conception of a great whole to the minutest details of his work. We must not undervalue, on the other hand, Mozart's more exact knowledge and freer use than formerly of external means. His residence in Mannheim had given him an altogether new conception of the performance of a good orchestra, both as to sound-effects and execution. The result is present in these compositions, although Salzburg surroundings and customs limited him greatly in his choice of means. It may be that for these reasons his instrumental combinations show no marked progress on former works, but the skilful use of the forces at his command become all the more apparent. It is remarkable how, without any alteration in the instrumentation as a whole, the body of sound has become richer and fuller, the result of a more careful consideration of the particular nature of each instrument. This is most striking in the management of the wind instruments. The bassoons predominate throughout, independently treated, whereas formerly they only strengthened the bass; and the use of the horns, with their long-sustained notes, shows marked progress. The combination of the wind instruments, sometimes in opposition to the stringed instruments, sometimes in unison with them, is another advance. Effective as are the wind instruments in combination, they are still more so in the delicacy of their individual features, and the perfection of their treatment could not fail to influence that of the stringed instruments, which show the same higher conception of what orchestral performances ought to be. {MOZART AS A CONDUCTOR.} (91)