standard from the universal and unchangeable laws of art--those only who are capable of grasping the individuality of an artistic nature, will not go astray either in their appreciation or their criticism. FOOTNOTES OF CHAPTER XXXIV. [Footnote 1: The Greiners had quartet parties every Tuesday during Advent and Lent (Car. Pichler, Denkw., I., p. 127. Jahrb. d. Tonk., 1796, p. 71).] [Footnote 2: Luigi Boccherini (1740-1805), who was almost a contemporary, followed his own bent in numerous quartets, quintets, and trios, uninfluenced by the works of others, and not himself exerting any lasting influence (Piquot, Notice sur la Vie et les Ouvrages de L. Boccherini. Paris, 1851).] [Footnote 3: The advertisement (Wien. Ztg., 1785, No. 75, p. 2191) ran: "Mozart's works require no praise, and to quote any would be superfluous; we can only assure the public that we are offering them a masterpiece. This is confirmed by the fact that the quartets are dedicated to his friend Joseph Haydn, Kapellmeister to Prince Estcrhazy, who honoured them with all the approbation which one man of genius can bestow upon another."] [Footnote 4: Dittersdorf, Selbstbiogr., p. 238.] [Footnote 5: Nissen, Nachtrag, p. 62.] [Footnote 6: Cramer, Magazin der Musik, II., p. 1273.] [Footnote 7: Gyrowetz, Selbstbiogr., p. xx. Jahrb. d. Tonkunst, 1796, p. 77.] [Footnote 8: A. M. Z., I., p. 855.] [Footnote 9: Fétis attacked this introduction in the Revue Musicale, V., p. 601, and maintained his opinion against Pernes (Ibid., VI., pp. 25, 32). An equally lively onslaught upon Fétis was made in a detailed analysis by C. A. Leduc (A. M. Z., XXXII., p. 117), and renewed (A. M. Z., XXXIII., pp. 81, 101) after an answer by Fétis (Rev. Mus., VIII., p. 821), and also by C. M. Balthasar (A. M. ZM XXXIII., p. 493). Thereupon G. Weber subjected the passage to a searching examination, and acknowledged finally that the combinations of sound were unpleasing to his own ear.] [Footnote 10: Càcilia, XIV., p. 2.] [Footnote 11: Ulibicheff, II., p. 254.] [Footnote 12: The conjecture of Fétis that the first violin follows the second at the second instead of the third crotchet of the second bar, by reason of a printer's error, is disproved by Mozart's own manuscript (also by his Thematic Catalogue).] [Footnote 13: Lenz, Beethoven, II., p. 78.] [Footnote 14: The same object is entirely fulfilled by Beethoven in the introduction to the Symphony in B flat major, to say nothing of the Quartet in C major. The cheerful serenity pervading the symphony, and the occasional stronger accents of passionate feeling, are, as it were, prefigured in the introduction, where we hear the rolling of the storm which is to clear and freshen the atmosphere.] [Footnote 15: A. M.Z., III., p. 350.] [Footnote 16: Joh. Bapt. Schaul, Briefe über den Geschmack in der Musik, p. 8.] [Footnote 17: Cf. Musik. Briefe von einem Wohlbekannten, II., p. 40.]