A few notes upon certain young women to whom Beethoven dedicated compositions at this period of his life may form no inappropriate close to this chapter. It was much the custom then for teachers of music to dedicate their works to pupils, especially to those who belonged to the higher social ranks--such dedications being at the same time compliments to the pupils and advertisements for the instructors, with the farther advantage often of being sources of pecuniary profit. When, therefore, we read the name of Baroness Albini on the title-page of certain sonatas by Sterkel, of Julia Countess Guicciardi on one by Kleinheinz, of Anna Countess Mailath on songs by Teyber, we assume at once the probability in these and like instances that the relation of master and pupil existed. Beethoven also followed the custom; and the young ladies, subjects of the following notices, are all known or supposed to have taken lessons of him. Anna Louisa Barbara (“La Comtesse Babette”) was the daughter of Karl Count Keglevics de Busin, of Hungarian Croatian lineage, and Barbara Countess Zichy. She married Prince Innocenz d’Erba Odescalchi on the 10th of February, 1801 (another authority gives 1800). Beethoven’s dedications to her are the Sonata, Op. 7 (published in 1797), the Variations “La stessa la stessissima” (1799), and the Pianoforte Concerto, Op. 15, 1801--the last to her as Princess Odescalchi. A note by the composer to Zmeskall--which, judging both from its contents and the handwriting, could not have been written later than 1801-2--shows that the Odescalchi palace was one of those at which he took part in musical soirées.