nings, took a trip to Paris. Whether, from Haydn's point of view, he
did well or not is open to question; for a fiddler named Polzelli had
come to Esterhaz, and Haydn could find nothing better to do than flirt
with his wife Luigia. He did more than flirt--he went a trifle further,
and the lady took full advantage of his infatuation. She everlastingly
importuned him for money, and made him sign a promise to marry her if
ever he should be free to do so. Finally, the trouble came to an end
somehow; but in his will Haydn left the lady an allowance for life.

The new theatre was built, and reopened in 1780 with a representation of
_La Fidelta Premiare_. This pleased every one so much that it was given
once at a concert under Haydn's direction, that the Emperor Joseph might
hear it, and it led to Artaria, who was a very great gun in the
publishing line of business, taking him up in serious earnest. Life went
on much as it had done before the fire, or, if it was not quite so
monotonous, it was still dull enough. Honours came to him from abroad,
and when in Vienna he made the acquaintance of many more or less
celebrated men. Michael Kelly is well worth reading on the subject, for
Michael was no fool, and very much more than an ordinary
celebrity-hunter. Haydn's friendship with Mozart is the most
interesting feature of this period, and a very beautiful incident in the
lives of two men of genius. Mozart, said Haydn, was the greatest
composer then living; Mozart regarded Haydn as a father, and dedicated
some quartets to him in phrases revealing the deepest affection. The
intimacy ended when Haydn left, towards the end of 1790, on his first
trip to England; in 1791 Mozart perished miserably, and was laid in a
pauper's grave--the man whom Haydn called the greatest composer of the
time was buried by the parish, and in 1792 Haydn returned triumphantly
from England, his brow wreathed with laurel, figuratively, and his
pockets crammed with English notes and gold, literally. There are a few
other odds and ends worth mentioning. His opera, _Orlando Paladino,_
written in 1782, made a great hit, and under its German name of _Ritter
Roland_ was the last of his stage works to ride off the stage. In 1781
the Grand Duke Paul and his wife had heard some of his quartets, and the
Duchess was so pleased with them that she took lessons from the
composer, and made him a present. London, too, had heard of him, and was
thinking of him; and William Forst