[58] This letter will appear later. The Variations are published in Series 12, No. 103, of the Complete Edition. In a catalogue of Breitkopf and Härtel of 1793, they are designated Op. 1; also in a catalogue in 1794 of Geyl and Hedler’s. It is plain from a passage in the letter to Eleonore von Breuning (“I never would have written it in this way,” etc.) that the Coda did not receive its definitive form until just before publication. Thayer was of the opinion when he wrote Vol. I of this work, that it had been appended in Vienna. [59] It was published in 1805 by the Kunst- und Industriecomptoir of Vienna. Complete Works, Series 18, No. 195; _cf._ Nottebohm’s “Beethoven’s Studien,” p. 6. [60] In the Fall of 1919, announcement was made by the newspapers that French investigators had discovered in the British Museum four thitherto unknown Beethoven autographs amongst manuscripts purchased by Julian Marshall. The editor of the second edition of Köchel’s “Thematic Catalogue of Mozart’s Works” had seen the manuscripts and included two of them as authentic Mozart compositions and two as probably such in the supplement to that work. They were a Trio in D, for pianoforte, violin and violoncello (two pages of the first _Allegro_ missing, listed as K, No. 52a); three pieces for pianoforte, four hands, a _Gavotte_ in F, an _Allegro_ in B-flat, and a _Marcia lugubre_ in C minor (six measures), No. 71a; a _Rondo_ in B-flat, to which the editor assigned the year 1786, No. 511a; and a _Menuet_ in C, for orchestra, the first of a set composed by Beethoven in 1795, which M. Chantavoine published in 1903 under the title “Douze Menuets inédits pour Orchestre. L. van Beethoven. Œuvres posthumes. Au Ménestrel.” Theodore Wyzewa and Georges de St. Foix made a study of the manuscripts and discussed them in “Le Guide Musical” of December, 1919, January and February, 1920. They were then set down as “pseudo-Mozarts.” M. Charles Malherbe declared that none of the compositions was in Mozart’s hand, and M. de St. Foix, after further consideration of the internal evidence, declared them all to be indubitably by Beethoven and gave his reasons in an essay published in “The Musical Quarterly” (New York and Boston, G. Schirmer) of April, 1920. He told the history of the manuscripts as follows: “They had been presented by the Emperor of Austria to the Sultan Abdul Aziz. The latter, who probably cared very little for these relics of the 18th century, presented them in turn to his musical director, Guatelli Pasha. An English collector, Julian Marshall, purchased them from the Pasha’s son, W. Guatelli Bey, and when, later on, the British Museum acquired the Marshall Collection these manuscripts went over into its possession.”