many of the strict rules, it was not because he was not able to apply them, but because he purposely set them aside. Places can be found in his exercises in which the rules are violated; but the testimony of the ear acquits the pupil. Rules are not the objects of themselves, they do not exist for their own sake, and in despite of all artistic systems; it is the reserved privilege of the evolution of art-means and prescient, forward genius to point out what in them is of permanent value, and what must be looked upon as antiquated. Nature designed that Beethoven should employ music in the depiction of soul-states, to emancipate melody and express his impulses in the free forms developed by Ph. Em. Bach, Mozart, Haydn and their contemporaries. In this direction he had already disclosed himself as a doughty warrior before the instruction in Vienna had its beginning, and it is very explicable that to be hemmed in by rigid rules was frequently disagreeable to him. He gradually wearied of “creating musical skeletons.” But all the more worthy of recognition, yea, of admiration, is the fact that the young composer who had already mounted so high, should by abnegation of his creative powers surrender himself to the tyranny of the rules and find satisfaction in conscientious practice of them. Nottebohm summed up his conclusions from the investigations which he made of Beethoven’s posthumous papers thus: prefacing that, after 1785, Beethoven more and more made the manner of Mozart his own, he continues: WHAT BEETHOVEN LEARNED