are references to other works in the Conversation Books which are not clear. In January Mathias Artaria writes: “I hear of six fugues.--We will empty a bottle of champagne in their honor.” Holz asks: “Is it true that you sold a rondo to Dominik Artaria which he has not yet received? It is said that you took it back and have not returned it.”--It is possible that the Rondo Caprice which was published by Diabelli as Op. 129, the history of which is a blank, is the work alluded to; but there is no evidence on the subject. FOOTNOTES: [147] Halm’s personal explanation to Mr. Thayer. [148] The Editor has taken the liberty of transferring the music to the treble clef and to interpret the notes which are indistinct in the autograph in accordance with Dr. Deiters’s transcript. [149] It would scarcely be worth while to review the acrimonious controversy on this subject. There were errors and misunderstandings growing out of faulty memories and imperfect records. Mr. Thayer made a painstaking study of the subject and secured all the available correspondence from Prince George Galitzin and from other sources in 1861. His résumé as given in Grove’s “Dictionary of Music and Musicians” (Art. “Galitzin”) doubtless sets forth the fact of indebtedness and payment correctly. He says: “These (the last two Quartets) were received by the Prince together and were acknowledged by him Nov. 22, 1826. He also received a MS. copy of the Mass in D and printed copies of the Ninth Symphony and of the two overtures in C, the one (Op. 124) dedicated to him, the other (Op. 115) dedicated to Count Radzivill. Thus the whole claim against him was--Quartets 150 ducats; Overture (Op. 115), 25 ducats; Mass, 50 ducats; loss on exchange, 4 ducats; total 229 ducats, not including various other pieces of music sent. On the other hand he appears, notwithstanding all his promises, to have paid, up to the time of Beethoven’s death, only 104 ducats. It should be said that in 1826, war and insurrection had broken out in Russia, which occupied the Prince and obliged him to live away from Petersburg, and also put him to embarrassing expenses. After the peace of Adrianople, (Sept. 14, 1829) when Beethoven had been dead some years a correspondence was opened with him by Hotschevar, Karl van Beethoven’s guardian, which resulted in 1832 in a further payment of 50 ducats, making a total of 154. Karl still urges his claim for 75 more to make up the 150 ducats for the Quartets, which Galitzin in 1835 promises to pay but never does. In 1852, roused by Schindler’s statement of the affair (ed. I. pp. 162, 163), he writes to the _Gazette musicale_ of July 21, 1852, a letter stating correctly the sum paid but incorrectly laying it all to the account of the Quartets. Other letters passed between him and Karl Beethoven, but they are not essential to the elucidation of the transaction.”