na von Arnim, May 28, 1810.)

106. "L'art unit tout le monde,--how much more the true artist!"

(March 15, 1823, to Cherubini, in Paris.)

107. "Only the artist, or the free scholar, carries his happiness within
him."

(Reported by Karl von Bursy as part of a conversation in 1816.)

108. "There ought to be only one large art warehouse in the world, to
which the artist could carry his art-works and from which he could carry
away whatever he needed. As it is one must be half a tradesman."

(January, 1801, to Hofmeister, in Leipzig.)

BEETHOVEN AS CRITIC

The opinion of artist on artists is a dubious quantity. Recall the
startling criticisms of Bocklin on his associates in art made public
by the memoirs of his friends after his death. Such judgments are often
one-sided, not without prejudice, and mostly the expression of impulse.
It is a different matter when the artist speaks about the disciples of
another art than his own, even if the opinions which Bocklin and Wagner
held of each other are not a favorable example. Where Beethoven speaks
of other composers we must read with clear and open eyes; but even
here there will be much with which we can be in accord, especially
his judgment on Rossini, whom he hated so intensely, and whose airy,
sense-bewitching art seduced the Viennese from Beethoven. Interesting
and also characteristic of the man is the attitude which he
adopted towards the poets of his time. In general he estimated his
contemporaries as highly as they deserved.

109. "Do not tear the laurel wreaths from the heads of Handel, Haydn and
Mozart; they belong to them,--not yet to me."

(Teplitz, July 17, 1852, to his ten-year-old admirer, Emilie M., who had
given him a portfolio made by herself.)

110. "Pure church music ought to be performed by voices only, except a
'Gloria,' or some similar text. For this reason I prefer Palestrina;
but it is folly to imitate him without having his genius and religious
views; it would be difficult, if not impossible, too, for the singers of
today to sing his long notes in a sustained and pure manner."

(To Freudenberg, in 1824.)

111. "Handel is the unattained master of all masters. Go and learn from
him how to achieve vast effects with simple means."

(Reported by Seyfried. On his death-bed, about the middle of February,
1827, he said to young Gerhard von Breuning, on receiving Handel's
works: "Handel i