and the ease with which this sense is made evident throughout. It is a quality, no doubt, inseparable from inventive power and a talent for construction, but it is not universally effective in the same degree, and it is rare to find such a union of the forces which regulate the impression made by musical beauty upon the senses. Even the orchestra, although deficient in the delicate detail of "Figaro" and "Don Giovanni," is in other respects fuller, more brilliant, and richer in separate instrumental effects. The wind instruments are brought more forward, in more varied combinations and finer shades of tone-colouring. The clarinets are made effective, and a characteristic distinction made between their employment and that of the oboes. An original use is made of the trumpets: apart from drums they are not trumpet-like in the ordinary sense, but are used in place of the horns (not in combination with them), and mostly in the lower registers, in order to give freshness and force to the tone-colouring. Similar observations might be extended to show in detail with what refined penetration and correct judgment of effect the forces of the orchestra are made to conduce to the euphonious charm of the opera. That "Cosi fan Tutte," considered as a whole, and in respect of importance and detail of characterisation, is inferior to "Figaro" and "Don Giovanni," no competent critic will deny. Nevertheless many separate portions of the work, and the large majority of the characters, display Mozart's genius and mastery of his art in full measure of originality and brilliancy, and in many respects this opera may be held to indicate an important step in advance of all that has gone before it. FOOTNOTES OF CHAPTER XLI. [Footnote 1: N. Berl. Mus. Ztg., 1856, No. 5, p. 35.] [Footnote 2: N. Wien. Mus. Ztg., 1852, No. 35.] [Footnote 3: Wien. Ztg., 1788, October 15, No. 83, p. 2,541.] [Footnote 4: From August 29, when "Figaro" was first placed on the stage, it was given eleven times (August 31; September 2, 11, 19; October 3, 9, 24; November 5, 13, 27); fifteen times in 1790, and three times in 1791.] [Footnote 5: Fr. Heinse (Reise-und Lebensskizzen, I., p. 184) mentions a rumour that a story current in Vienna at the time concerning two officers and their mistresses furnished the subject for the opera, which was adopted by the express desire of the Emperor.] [Footnote 6: Da Ponte mentions it only briefly (Mem., II., p. 109).] [Footnote 7: In the Wien. Ztg., 1790, No. 9, Anh., the date is printed, "Mittwoch, 16 Januar."] [Footnote 8: Joum. des Luxus u. d. Moden, 1790, p. 148: "I have again to announce a new and excellent work by Mozart acquired by our theatre. It was performed yesterday for the first time at the Imp. Nat. Theatre. It is entitled,'Cosi fan Tutte, osia la Scuola degli Amanti.' Of the music, it is sufficient to say that it is by Mozart."]