[12] Dr. F. Keesbacher, who published a history of the Laibach Philharmonic Society in 1862, thought that this was the composition sent by Beethoven; but the “Pastoral” Symphony had been published nearly ten years before--by Breitkopf and Härtel in May, 1809. [13] On the blank leaves of an Almanac for 1819, such as used to be bound in those useful household publications for the reception of memoranda, Beethoven notes: “Came to Mödling, May 12.!!! _Miser sum pauper_....” “On May 14 the housemaid in Mr. came, to receive 6 florins a month.... On 29th May Dr. Hasenöhrl made his 3rd visit to K. Tuesday on the 22nd of June my nephew entered the institute of Mr. Blöchlinger at monthly payments in advance of 75 florins _W. W._ Began to take the baths here regularly (?) on 28th Monday, for the first (?) time daily.” Schindler adds: “On July 20 gave notice to the housekeeper.” [14] Kalischer-Shedlock, Vol. II. pp. 138 and 139. [15] In his draft for this chapter Thayer wrote: “In the hope of obtaining further particulars Horsalka’s attention was directed to this passage in the copy now before the writer. The result is written on the margin in Herr Luib’s hand: ‘Horsalka knows nothing of this’. This incident is doubtless true, but that Horsalka should not have remembered it if he was present, is incredible. Schindler’s queer memory has again proved treacherous in regard to his companion.” [16] So Pohl, who wrote a history of the “Gesellschaft,” informed Thayer in a note. [17] Kalischer-Shedlock, II, p. 144. [18] The theme was the melody written for a song beginning “O Hoffnung, du stählst die Herzen, vertreibst die Schmerzen,” from Tiedge’s “Urania.” Nohl, without giving an authority, quotes an inscription on the autograph as follows: “Composed in the spring of 1818 by L. v. Beethoven _in doloribus_ for H. Imp. Highness the Archduke Rudolph.” Thayer knows nothing about such an inscription, but it does not look like an invention. In one of the Conversation Books somebody (Dr. Deiters opines it was Peters) writes: “Fräulein Spitzenberger played the 40 variations by the Archduke for me yesterday. I know nothing about it, but it seems to me that they were pretty extensively corrected by you. The critics insist on the same thing.” We do not know what reply Beethoven made and it is a matter of small moment. The same comment has been called out by many a royal composition since; it was Brahms who said: “Never criticize the composition of a Royal Highness;--you do not know who may have written it!” In justice to Archduke Rudolph, however, it deserves to be mentioned that a set of variations on a melody from Rossini’s “Zelmira” composed by him shows pencil corrections in the hand of Beethoven and they are few and trifling.