Brahms' ordinary costume, the same here as elsewhere, was chosen quite without regard to appearances. Mere lapse of time must occasionally have compelled him to wear a new coat, but it is safe to conclude that his feelings suffered discomposure on the rare occurrence of such a crisis. Neckties and white collars were reserved as special marks of deference to conventionality. During his visits to Thun he used on wet Saturdays to appear at Bern wearing 'an old brown-gray plaid fastened over his chest with an immense pin, which completed his strange appearance.' Many were the books borrowed from Widmann at the beginning, and brought back at the end, of the week, carried by him in a leather bag slung over his shoulder. Most of them were standard works; he was not devoted to modern literature on the whole, though he read with pleasure new and really good books of history and travel, and was fond of Gottfried Keller's novels and poems. Over engravings and photographs of Italian works of art he would pore for hours, never weary of discussing memories and predilections with his friend. Visits to the Bern summer theatre, a short mountain tour with Widmann, an introduction to Ernst von Wildenbruch, whose dramas the master liked, and with whom he now found himself in personal sympathy--events such as these served to diversify the summer season of 1886, which was made musically noteworthy by the composition of a group of chamber works, the Sonatas in A and F major for pianoforte with violin and violoncello respectively, and the Trio in C minor for pianoforte and strings. The Sonatas were performed for the first time in public in Vienna; severally by Brahms and Hellmesberger, at the Quartet concert of December 2, and by Brahms and Hausmann at Hausmann's concert of November 24; the Trio was introduced at Budapest about the same time by Brahms, Hubay, and Popper, in each case from the manuscript.