A few days after the one just recorded Beethoven received a visit from a man of much greater moment than the English traveller. The new visitor was Carl Maria von Weber. That the composer of “Der Freischütz” was unable in his salad days to appreciate the individuality of Beethoven’s genius has already been set forth; and the author of the letter in the “Harmonicon” seems to have learned that Beethoven was disposed to speak lightly of Weber only a month before he received him with most amiable distinction at Baden. Schindler’s explanation, that a memory of Weber’s criticism of the Fourth Symphony may at the moment have risen, ghost-like, in Beethoven’s mind and prompted the disparaging allusion quoted by Schulz, is far-fetched. It is not necessary to account for such moody remarks in Beethoven’s case. He was often unjust in his comments on even his most devoted friends, and we may believe that to Schulz he did speak of the composer as “one Weber,” and at the same time accept the account which Max Maria von Weber gives of the reception of his father by Beethoven. From the affectionate biography written by the son, we learn that after the sensational success achieved by “Der Freischütz” Beethoven was led to study its score and that he was so astonished at the originality of the music that he struck the book with his hand and exclaimed: “I never would have thought it of the gentle little man (_sonst weiche Männel_). Now Weber must write operas; nothing but operas--one after the other and without polishing them too much. _Casper_, the monster, stands out here like a house. Wherever the devil puts in his claws they are felt.” He learned to know “Euryanthe” later and was less impressed by it than by its predecessor. After glancing through it hurriedly he remarked: “The man has taken too much pains.”[97] Whatever may have been their earlier feelings and convictions, however, the representations of “Fidelio” at Prague and Dresden under the direction of Weber warmed their hearts towards each other. Weber’s filial biographer says that when the youthful sin of his father was called to the notice of Beethoven, the latter showed some resentment, but there is no shadow of this in the pictures which we have from the pens of Weber himself, Max Maria von Weber and Julius Benedict, of the meeting between the two men. Weber had come to Vienna, bringing with him his pupil Benedict, to conduct the first performance of “Euryanthe.” On his visit in the previous year, when “Der Freischütz” was produced, he had neglected to call on Beethoven, but now some kindly words about “Euryanthe” spoken by Beethoven to Steiner being repeated to him, he made good his dereliction and, announced by Haslinger, drove out to Baden to pay his respects. In his diary Weber noted the visit thus: “The 5th, Sunday (October, 1823), at 8 o’clock, drove with Burger (Piringer), Haslinger and Benedict to Baden; abominable weather; Saw spring and baths; to