[10] A letter printed in 1909 by Leopold Schmidt in his collection from the archives of the Simrock firm, confirms the change of lodgings to the theatre and also brother Karl’s activity as correspondent and arranger. In it he offers a grand Sonata for violin, to appear simultaneously in London, Leipsic, Vienna and Bonn, for 30 florins; a grand Symphony for 400 florins. When the “Kreutzer” Sonata was published (it was announced by Träg on May 18, 1805) Karl acknowledged the receipt of a copy in a letter to Simrock, adding that all the other publishers sent six copies of the works printed by them and asking for the remaining five. Simrock took him to task rather sharply for what he considered a piece of presumption, in a letter which he enclosed to Ferdinand Ries with the statement that he might read it if he wanted to. “I bought the Sonata of Louis van Beethoven,” says the indignant publisher, “and in his letter concerning it there is not a word about giving him six copies in addition to the fees--a matter important enough to have been mentioned; I was under the impression that Louis van Beethoven composed his own works; what I am certain of is that I have fully complied with all the conditions of the contract and am indebted to nobody.” In the note to Ries he calls Karl’s conduct “impertinent and deserving of a harsher treatment, for Herr Karl seems to me incorrigible.” [11] Thayer considered the “first street to the left” to be the Herrengasse. J. Böck (Gnadenau) argued in “Die Musik.” Vol. II, No. 6, that the house in which the “Eroica” was composed was the present Hauptstrasse No. 92 of Döbling and bore the old No. 4 of the Hofzeile. In 1890 the owner of the house and the Männergesangsverein of Döbling placed a tablet on the “Eroica” house, whose occupants “were still in possession of a tradition concerning Beethoven’s occupation of it.” So says Dr. Riemann. [12] Th. von Frimmel discusses the Beethoven portraits in his “Neue Beethoveniana,” p. 189 ~et seq.~, and “Beethoven-Studien,” Vol. II (1905). [13] A copy of this portrait which belonged to Thayer is now in the possession of Mrs. Jabez Fox, and is presented in photogravure as frontispiece to the present volume. [14] The publication of a complete edition of his composition frequently occupied the mind of Beethoven. In 1806 Breitkopf and Härtel tried to get all of Beethoven’s works for publication by them; it is likely that similar efforts on the part of Viennese publishers date back as far as 1803. Later the plan plays a rôle in the correspondence with Probst and Simrock. As late as 1824 it was urged by Andreas Streicher. It has already been said that Beethoven at an early date desired to make an arrangement with a publisher by which he might be relieved of anxiety about monetary matters. He wanted to give all his compositions to one publisher, who should pay him a fixed salary. [15] Nottebohm, “Skizzenbuch, etc., 1803,” p. 56, says “quartet.”