who could and did so effectually act as peace-maker when the harmony between him and her children was disturbed. Schindler is a witness that just for this phase of her motherly care Beethoven, down to the close of life, was duly grateful. In his later days he still called the members of this family his guardian angels of that time and remembered with pleasure the many reprimands which he had received from the lady of the house. “She understood,” said he, “how to keep insects off the flowers.” By insects he meant certain friendships which had already begun to threaten danger to the natural development of his talent and a proper measure of artistic consciousness by awakening vanity in him by their flatteries. He was already near to considering himself a famous artist, and therefore more inclined to give heed to those who encouraged him in his illusions than such as set before him the fact that he had still to learn everything that makes a master out of a disciple. This is well said, is very probable in itself, and belongs in the category of facts as to which Schindler is a trustworthy witness. Stephan von Breuning became so good a violinist as to play occasionally in the electoral orchestra. As he grew older, and the comparative difference in age between him and Beethoven lessened, the acquaintance between them became one of great intimacy. Frau Karth says he was a frequent visitor in the Wenzelgasse, and she had a lively recollection of “the noise they used to make with their music” in the room overhead. Lenz, the youngest of the Breunings, was but fifteen when his teacher left Bonn, but a few years after he became a pupil of Beethoven again in Vienna and became a good pianist. For him the composer seems to have cherished a warm affection, one to which the seven years’ difference in their ages gave a peculiar tenderness. It has been supposed that Beethoven at one time indulged a warmer feeling than mere friendship for Eleonore von Breuning; but this idea is utterly unsupported by anything which has been discovered during the inquiries made for this work. Beethoven’s remarkable powers of improvising were often exhibited at the Breuning house. Wegeler has an anecdote here: Once when Beethoven was improvising at the house of the Breunings (on which occasions he used frequently to be asked to characterize in the music some well-known person) Father Ries was urged to accompany him upon the violin. After some hesitation he consented, and this may have been the first time that two artists improvised a duo.