[Footnote 1:  In Dr. Fr. Keesbacher’s pamphlet, “The Philharmonic Society in Laibach, from 1702 to 1862,” he says:—­“The Philharmonic Society, always anxious to add to its lustre by attracting honorary members, resolved to appoint the great master of harmony as one of these.  This idea had previously occurred to them in 1808.  At that time they asked Dr. Anton Schmidt whether he thought that the election of Beethoven, and also Hummel’s son, would contribute to the advancement of the Society.  On that occasion the Society appear to have had recourse to Haydn for the composition of a Canon; whether they applied to him for a new one or an already existing one is not known.  Schmidt replied, ’I, for my part, with such an object in view, would prefer giving my vote for the latter, (Hummel’s son, who is second Kapellmeister, Haydn being the first, to the reigning Prince Niklas Esterhazy.) Beethoven is as full of caprice as he is devoid of complaisance. I have not seen Father Haydn for a long time, his residence being so distant.  He is now in failing health and scarcely ever writes; I will, however, shortly call on him and make the attempt to get a Canon from him.’  This discouraging picture of Beethoven, who had indeed too often a repulsive manner, might well deprive the Society of all courage to think any more of him as one of their honorary members.  On the 15th of March, 1819, however, the Society prepared the diploma for Beethoven, the usually stereotyped form being exceptionally varied in his honor, and running thus:—­’The Philharmonic Society here, whose aim it is to promote refinement of feeling and cultivation of taste in the science of music, and who strive by their incessant efforts to impart to the Society both inwardly and outwardly, by the judicious selection of new members, greater value, solidity, and distinction, are universally animated with the desire to see their list adorned by the name of Beethoven.  The organ of this society, the undersigned directors, fulfil the general wish in thus performing their most agreeable duty, and giving you, sir, the strongest proof of their profound admiration, by appointing you one of their honorary members.—­Laibach, March 15, 1819.’” A fac-simile of Beethoven’s handwriting is hung up in a frame under glass in the hall of the Society and affixed to Dr. Keesbacher’s pamphlet.]

[Footnote 2:  We are told, “One work alone of Beethoven’s in the collection of the Society bears visible marks of coming from his own hand, and that is the Pastoral Symphony.”  The above-mentioned copy is a MS. score (though not in his writing); on the cover is written by himself in red pencil, now almost illegible, “Sinfonie Pastorale;” and underneath are inscribed the following words in ink by another hand:  “Beethoven’s writing in red pencil.”  This score contains various corrections in pencil.  Two of these appear to be by Beethoven, but unluckily the pencil marks are so much effaced that it is difficult to decide