Another theory is that, unlike Haydn, and in a degree Beethoven, he had no wealthy patron who safeguarded him and his art, and that the want of easier circumstances affected the quality of his work, as well as shortened his life. In any case, it may be taken as certain that his highly-strung organisation unfitted him for the hardships which fell to his lot, and that the sympathy and protection of some one possessed of worldly power and influence would, in his case, have been especially valuable. It is impossible, for example, to read without indignation of the manner in which he was treated by the Archbishop of Salzburg. But apart from all this, there can be no doubt that his works are a priceless treasure, for whose good influence humanity, past and present, is deeply his debtor. [Sidenote: =Mozart’s String Quartetts=] Of String Quartetts Mozart wrote fewer in number by far than Haydn, but none the less his work in this direction is such as to overshadow that of Haydn. It has been well said that “next in importance after his (Mozart’s) Symphonies come his Quartetts. In this form Haydn was again the pioneer, but it fell to Mozart to produce the first really great and perfect examples. This refined and delicate form of art had come into prominence rather suddenly. It was cultivated with some success by other composers besides Mozart and Haydn, such as Boccherini and Dittersdorf. But the quartetts which Mozart produced in 1782, and dedicated to Haydn, are still among the select few of highest value in existence. In a form in which the actual possibilities are so limited, and in which the responsibilities towards each individual solo instrument are so great, where the handling requires to be so delicate and so neatly adjusted in every detail, Mozart’s artistic skill stood him in good stead. The great difficulty was the exact ascertainment of the style of treatment best suited to the group of four solo instruments. It was easy to write contrapuntal movements of the old kind for them, but in the new harmonic style, and in the form of a sonata order, it was extremely difficult to adjust the balance between one instrument and another so that subordination should not subside into blank dulness, nor independence of inner parts become obtrusive. Mozart, among his many gifts, had a great sense of fitness, and he adapted himself completely to the necessities of the situation, without adopting a polyphonic manner, and without sacrificing the independence of his instruments.”[15] [Footnote 15: _The Art of Music_, Sir Hubert Parry.] [Sidenote: =The Genius of Mozart=]