famous quintet he asked twenty louis d'or, or about $100; for
"Paradise and the Peri," $500; the piano concerto, $125; Liederalbum,
op. 79, $200; "Manfred," $250. He frequently emphasizes his desire to
have his compositions printed in an attractive style, and in 1839
writes to Härtel that he cannot describe his pleasure on receiving the
"Scenes of Childhood." "It is the most charming specimen of musical
typography I have ever seen." The few misprints he discovers in it he
frankly attributes to his MS. In a letter to his friend Rosen he
writes that "it must be a deucedly comic pleasure to read my
Sanskrit." But his musical handwriting appears to have been nearer to
Sanskrit than his epistolary, if we may judge by the specimen
fac-similes printed in Naumann's "History of Music."

The promptness with which all the leading music publishers of Germany
issued complete editions of Schumann's vocal and pianoforte
compositions, as soon as the copyright had expired, shows how
profitable they must be. But during his lifetime it was quite
otherwise, and in a letter to Kossmaly he adduces the following four
reasons for this state of affairs: "(1) inherent difficulties of form
and contents; (2) because, not being a virtuoso, I cannot perform them
in public; (3) because I am the editor of my musical paper, in which I
could not allude to them; (4) because Fink is editor of the other
paper, and would not allude to them." Elsewhere he remarks, concerning
this rival editor: "It is really most contemptible on Fink's part not
to have mentioned a single one of my pianoforte compositions in nine
[seven] years, although they are always of such a character that it is
impossible to overlook them. It is not for my name's sake that I am
annoyed, but because I know what the future course of music is to be."
It was in behalf of this tendency that he toiled on his paper, which
at first barely paid its expenses, having only 500 subscribers several