IN this paper I am not, primarily, concerned with facts. Some facts I shall state, other possible facts I shall guess at. My principal object is that of raising, and of suggesting an answer to, the question whether what we may call certain psychological possibilities exist. For this purpose I have taken the three best-known of Mozart's major works and with some little analysis, some application of their history—and perhaps some degree of imagination or fancy—endeavoured to show that they prove my thesis that programme music need not arise from conscious application of certain methods of composition; and that, in the subtler sense of the term, it is not dependent for its proper interpretation on a knowledge of the composer's source of inspiration.