Nearly a year later he writes to her regretting that he could not have her visit him at Kaisersheim, and begging her to meet him in Munich. In Munich it was Mozart's fate to find a tragedy awaiting him, for Aloysia (whom he had loved as solemnly as he had loved his cousin frivolously, and to whom he looked forward longingly after his long absence) showed herself indifferent. He had planned that his cousin should "have a great part to play in this meeting with Aloysia." This I would rather interpret as evidence that Mozart was quite ignorant of any deep affection in his cousin. There is nothing in his life that shows him as anything other than the most tender-hearted of men, and it is inconceivable that he should have brought his cousin to Munich simply to drag her at the chariot of his triumph with Aloysia. And yet his flirtation with the Bäsle certainly went past mere bantering and repartee. She stayed several weeks in Munich and must have furnished Mozart grateful diversion from his humiliation. She went with him to Salzburg and later, when she returned to her own home, we find him writing with the same exuberance, addressing her as-- "Dearest, best, lovingest, fairest, enticingest, by-an-unworthy-cousin-to-harness-broken." With her name he puns on _Bäsle_ and _Bass_, thence, "_Bäschen oder Violoncellchen_"--a little bass-viol or violoncelline. He writes, as he says, to appease her "alluring beauty (_visibilia et invisibilia_) heightened by wrath to the height of your slipper-heel." Then he writes her a passionate parody on a poem of Klopstock's, and writes it in circular form around his own sketch of her portrait, which implies neither beauty on her part nor art on his. This is the last letter he seems ever to have written her excepting a business letter two years later. And this marks the end of a flirtation which he seems to have regarded as sheer frivolity. But this was not her mood. Biographer Jahn says: "The Bäsle seems to have taken her cousin's courtship seriously; at least all the neighbours thought from the way she spoke of him that there was something of deluded expectation in her tone. She spoke neither gladly nor often of this time. She was not musical and could not have had a proper appreciation of Mozart's artistic value. His vivacity and velocity of musical performance seemed comical to her. Of her later life nothing is known to me; she lived later with the Postmaster Streite in Bayreuth and died there Jan. 25, 1841, at the great age of eighty-three." So much for the Bäsle. Poor girl! But while the hollyhock was taking the bee's fickleness so solemnly, a rose was revenging her upon him. A more serious--for Mozart a very serious--affair, was his infatuation with Aloysia Weber, a fifteen-year-old girl with much beauty and little heart.