11 ouse and Garden 
see me.” The appropriateness of the first 
part of the quotation is appreciated the mo¬ 
ment you enter the door. There is no ivory 
about nor anything in the way of gilt 
ceilings, only whitewashed walls and bare 
floors. The room on which the door opens 
is the birth-room, and in the far corner a 
white bust projects itself through the dark¬ 
ness. Attached to the bust there is a card 
saying, Hier stand Mozart's Wiege —“Mo¬ 
zart’s cradle stood here.” Near by one finds 
a grand piano used by Mozart, similar 
in size and construction to what appears in 
the famous picture of the Mozart family at 
practice. Tempted to finger the keys, 1 dis¬ 
covered that there is plenty of music yet in 
the old instrument. The same room con¬ 
tains a spinet, which also responds cheer¬ 
fully to the touch. The walls of this room 
are decked out with pictures of Mozart and 
his family, play-bills, medallions, music man¬ 
uscripts and decrees of appointment (includ¬ 
ing the one by which Mozart was appointed 
in 1787 musician of the chapel at a salary of 
$400 a year). 
In another room — the family sitting- 
room—the exhibits include the watch pre¬ 
sented to Mozart by the Empress Maria 
Theresa, his prayer book and a number of 
unfinished compositions. 
A TERRACE STAIR OF THE MIRABELL GARDEN 
THE HOUSE IN WHICH MOZART WAS BORN 
In addition to these two rooms Salzburg 
boasts another Mozart memorial. All those 
familiar with the history of the great com¬ 
poser know' that he lived for a considerable 
time in Vienna. One 
of his houses there was 
a little cottage, built 
principally of wood. 
In this cottage he com¬ 
pleted the opera of Zau- 
berflote —“The Magic 
Flute,” and when the 
building was threatened 
with destruction the 
idea occurred to some 
one to have it removed 
from Vienna altogether 
and placed in Salzburg. 
This was done, a site 
was obtained on the 
Capuzinerberg, and 
now the Mozart Cot¬ 
tage shares with the 
birth-room the de¬ 
votion of amateurs 
of music who visit 
Salzburg. 
73 
