displayed any sort of partiality for music; his consort, the Empress Louise, visited the opera and laid claim to some musical knowledge, although she expressed herself dissatisfied with the state of music in Vienna; the young princes, too, were instructed in music.[1] The difference between Joseph and his successor in point of taste was very soon manifested by the reintroduction of ballets, and by the favour bestowed on opera seria as well as opera buffa. It was rumoured that a new court theatre was to be built, in which the boxes were to be arranged for card-playing, and that Salieri had determined in consequence to resign his post, which was to be filled by Cimarosa.[2] Those individuals who had enjoyed the esteem of Joseph had little favour to hope for from Leopold; a fact which soon became evident in matters theatrical. Count Rosenberg was removed from the management, which was intrusted to Count Ugarte;[3] Da Ponte and Madame Ferraresi fell into disfavour;[4] Salieri thought it advisable to retire from the conductorship of the opera, and his place was filled by Jos. Weigl, "that the master might be reverenced in the pupil."[5] Mozart had stood too high in the favour of Joseph to be able to expect much from Leopold II.; his candidature for the post of second kapellmeister was as little successful as his request to be honoured with the musical instruction of the princes. Proof positive of the low esteem in which he was held by the court was afforded to him on the occasion of the visit of King Ferdinand of Naples, who came to Vienna (September 14) with his Queen, Caroline, to celebrate the marriages of his daughters, Maria Theresa and Louise, with the Archdukes Francis and Ferdinand. Ferdinand's {LABOUR AND POVERTY.} (276)