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 and official respectability: Hoffmann, however, saw in it the means of realising his long-cherished wish, a life devoted to Art; and hastened to his Bamberg musical appointment with gayer hopes than he had ever fixed on any other prospect. Had money or economical comfort been his chief object, he must have felt himself cruelly disappointed: mischance on mischance befell the Bamberg theatre; contradiction on the back of contradiction awaited the new Music-director, whose life, for the next seven years, differs in no outward respect from that of the most unprosperous strolling player. Nevertheless, he made no complaint; perhaps he really felt little sorrow. 'This must do,' writes he in his Diary, 'and it will do; for now I shall never more have a Relatio ex Actis to write while I live, and so the Fountain of all Evil is dried up.' In a wealthier station, he might have composed more operas, and painted more caricatures; but it is possible enough the world might never have heard of him as a writer. The fate of his first two Novels had perhaps disgusted him with authorship: his studies at least had long pointed to other objects; nor was it choice, but necessity, which now led him back to literature. After many stagnations, the Bamberg theatrical cash-box had at length become entirely insolvent; portrait-painting and music-teaching were inadequate to the support of even a frugal household: Hoffmann, who, in all his straits, appears to have disdained pecuniary assistance, now wrote to Rochlitz of Leipzig, Editor of the Musicalische Zeitung (Musical Chronicle), soliciting employment in this Work; and, by way of testimonial, transmitting some of his recent performances. The letter itself, written with the most fantastic drollery, was testimonial enough: Hoffmann was instantly and gladly accepted; and in ten days, two essays were prepared and despatched; the first of a long series, afterwards collected, enlarged, and given to the world under the title of Fantasiestücke in Callot's Manier (Fantasy-pieces in the style of Callot ), with a preface by Jean Paul