Schott was ready with the Ninth Symphony in July, 1826, but Beethoven asked him to delay the despatch of the printed score to the King of Prussia, to whom it was dedicated, until he had had an opportunity to send the monarch a manuscript copy, which, he said, would have no value after the publication. The reward which he was looking forward to in return was a decoration. The Conversation Books have considerable to say about the dedication, but if the London Philharmonic Society ever entered Beethoven’s mind in connection with it, the record has been lost. He wanted an Order, and had he received one in time for the concert, its insignia would, in great likelihood, have graced his breast on that occasion. He had repeatedly expressed contempt for the outward signs of royal condescension, but the medal sent by the King of France had evidently caused a change of heart in this regard. He was eager to see a description and illustration of the medallion in the newspapers; and that he thought of hanging it about his neck, appears from a remark to him made by Karl before the concert, telling him that it was too heavy to wear and would pull down his collar. Visitors called to see it and he permitted his intimate friends to show it about, until Holz cautioned him to do so no more, as it was showing marks of damage from a fall. In one conversation, Johann suggests that the Symphony be dedicated to the Czar of Russia and from a remark in one of Prince Galitzin’s letters telling him that, by a recent decree, all foreigners who wished to dedicate works of art to the Czar would have to obtain permission to do so from the Minister of Foreign Affairs, it would appear that Johann’s suggestion, or approval, had also received his sanction. Ferdinand Ries was also a candidate for the distinction (Beethoven had promised him the dedication in a letter), his claim being put forward, without particular urgency, by Franz Christian Kirchhoffer, a bookkeeper with whom Beethoven was acquainted and through whom Ries carried on his correspondence with the composer. On April 8, 1824, Karl wrote in a Conversation Book: “As soon as the Symphony has been sent to England it must be copied again handsomely on vellum paper and sent with an inscription to the King of France.” On the same day, apparently, Schindler asks: “Who has the preference in the matter of the dedication of the Symphony--Ries or the King of Prussia?--It ought to be offered as a proof of your gratitude, in these words.--There could be no better opportunity than just now for this purpose.” It is obvious that Schindler favors the King of France, for a day or two later he writes: “Schwaebl sends his compliments and is highly delighted that you are pleased with the gift. As regards the you-know-what he wants you to write to the Duke de la Chârtre [d’Âchats] yourself, but for the present nothing about the dedication--leave the reference till later.” The advice is repeated and