There are so many requests for them, and eventually this honorable work will reach the public in garbled copies. Y. I. H. will yourself not be able to avoid presenting copies here and there; therefore, in the name of God, among the many consecrations which Y. I. H. is receiving and of which the world is being informed, let the consecration of Apollo (or the Christian Cäcilia) also be made known. True, Y. I. H. may accuse me of vanity; but I can assure you that although this dedication is precious to me and I am really proud of it, this is not at all my aim. 3 publishers have appealed for it, Artaria, Steiner and a third whose name does not occur to me. To which of the first two shall the Variations be given? On this point I await the commands of Y. I. H. Both of them have offered to print the variations at _their own cost_. The question now is whether Y. I. H. is _satisfied with the title_? To the question whether or not the variations ought to be published, Y. I. H. ought to close your eyes; if it is done, Y. I. H. may call it a misfortune; but _the world will think the contrary_. Steiner printed the archducal work in the seventh number of his “Musical Museum” under a slightly changed title, viz.: “Theme (_Aufgabe_) composed by Ludwig van Beethoven, varied forty times and dedicated to the author by his pupil R[udolph], A[rch-]D[uke].”[18] Other evidences of Beethoven’s interest in Archduke Rudolph’s studies in composition are to be noted about this time. On July 29 he wrote to his pupil from Mödling, sending him three poems and asking him to select one for composition, encouraging him in these words: “The Austrians now know already that the spirit of Apollo has newly awakened in the Imperial family. From all quarters I receive requests for something. The proprietor of the _Modezeitung_ will appeal to Y. I. H. in writing. I hope I _shall not be accused of bribery--at Court and not a courtier_, what possibilities??!!!” In this letter, however, there are words of vaster import, as showing Beethoven’s attitude towards musical evolution. We quote: ... but _freedom_, _progress_, is the aim in the world of art as in the whole great universe, and even if we moderns are not so far advanced in sound technique (_Festigkeit_) as our _forefathers_, refinement in manners has opened many things to us. My exalted pupil in music, already a fellow-contestant for the laurel of fame, must not subject himself to the accusation of _onesidedness_,--_et iterum venturus judicare vivos et mortuos_.[19] [Sidenote: A PAINTER’S PRESENCE FORGOTTEN]