For a time, Schwind’s Katzensymphonie eclipsed the environ of its genesis, and Scholz was forced to write to early Brahms biographer Max Kalbeck twice, pleading with him to correct the claim that Die Schwarzen Katzen society arose in response to Schwind’s symphony and not vice versa. (Kalbeck went so far as to playfully suggest that Montmartre’s famed cabaret Le Chat Noir, whose iconic poster by Théophile Steinlen still dominates Paris souvenir shops, was also indebted to the Austrian artist.) The image circulated rather far afield: it was revised and redrawn for an issue of the American children’s magazine Wide Awake in 1884 and also appears in an 1895 issue of Britain’s Woman at Home during an interview between Joachim and Baroness von Zedlitz. Weirdly, Hermann Rorschach, whose famous psychological test attributes meaning to inkblots, also cribbed the Katzensymphonie. As Damion Searls discusses, his Scaphusia scrapbook contains “klexy cats frolicking up and down the staff in place of notes”.