artments
appropriated to his use by the Baron at his residence on the Moelker Bastei,
and remained there until 1816.

Penzing, a village near Vienna, a favorite summer residence.

Peters, C.F., "Bureau de Musique" in Leipzig (_see also_ Hofmeister).

Peters, councillor of Prince Lobkowitz at Vienna, a friend of Beethoven.

Philharmonic Society in London. In Laibach.

Pianoforte, Beethoven's remarks concerning the.

Pilat, editor of the "Austrian Observer."

Plutarch.

Portraits of Beethoven.

Potter, Cipriani, pianist in London.

Prague.

Prince Regent, the, afterwards George IV. of England.

Probst, music publisher in Leipzig.

Prussia.

Punto (_alias_ Stich) a celebrated horn player, to whom Beethoven was
mainly indebted for his knowledge of that instrument (died 1804).

"Queen of the Night." _See_ Beethoven's sister-in-law.

Radziwill, Prince, at Berlin, a devoted patron of music and the composer of
music to "Faust."

Rampel, Beethoven's copyist about the year 1824.

Rasumowsky, Count, afterwards Prince, Russian ambassador at Vienna, an
ardent lover of music.

Recke, Elise von der, the well-known poetess.

Reisser, vice-director of the Polytechnic Institution at Vienna,
co-guardian of Beethoven's nephew in the year 1825.

Religious and moral sentiments on particular subjects.

Rellstab, Ludwig, a writer and poet, for many years editor of the
"Vossische Zeitung," in Berlin.

Ries, Ferdinand, son of the preceding, a pupil of Beethoven and a
distinguished composer. Quitted Vienna in 1805, and, with the exception of
a short residence there, on his return from Russia in the autumn of 1808,
never again returned to that capital (Schindler, i. 227).

Ries, Franz, Court musician to the Elector of Cologne, a helpful friend to
Beethoven (born 1755).

Rochlitz, Friedrich, the well-known writer on the science of music, and for
nearly twenty-five years editor of the Leipzig "Allgemeine Musikzeitung," a
man who, notwithstanding his entire lack of historical acumen and his
limited acquaintance with the technicalities of music, did very much
towards liberating the art from its mechanical condition, and promoting its
intellectual appreciation by the public. He was in Vienna in the year 1822,
where he became personally acquainted with Beethoven, but never fully
appreciated the genius of the master,--a circumstance which Beethoven
himself most deeply felt, even after the retirement of Rochlitz from th