he displayed for arithmetic, are well known; to the last he was fond of figures, and was extremely clever in making calculations; though very improvident in his pecuniary affairs.  The peculiar delicacy of Mozart’s organization is displayed in the fine sense of hearing which he evinced at a tender age.  Schachtner, a trumpeter, who used to visit his father, had a violin that Wolfgang was fond of playing upon, which he used to praise extremely for its soft tone, calling it the “butter fiddle.”  On one occasion, as the boy was amusing himself on his own little violin, he said to Schachtner, “if you have left your violin tuned as it was when I last played upon it, it must be full half-a-quarter of a note flatter than mine.”  Those present laughed at a nicety of distinction, upon which the most critical ear could hardly pronounce; but the father, who had many proofs of the extraordinary memory and exquisite feeling of his son, sent for the instrument, and it was found to be as the boy had said.  Although he daily gave fresh instances of his extraordinary endowments, he did not become proud or conceited, but was always an amiable and tractable child.  The affection and sweetness which characterize his airs were inherent in his disposition, and the following anecdote accounts for the prevalence of those delightful qualities in his vein of melody:—­“Mozart loved his parents, particularly his father, so tenderly, that every night before going to bed he used to sing a little air that he had composed on purpose, his father having placed him standing in a chair, and singing the second to him.  During the singing he often kissed his father on the top of the nose, (the epicurism of childish fondness), and as soon as this solemnity was over, he was laid in bed, perfectly contented and happy.”

The young artist, in his eighth year, began to show a manly intellect.  It was in the third tour through Germany to Paris, London. &c. that the fame of Mozart extended throughout Europe; but as many particulars of this period of his life are already known, from the account published by Daines Barrington in the Philosophical Transactions, the Letters of Baron Grimm, and other sources, we shall only notice the newest and most interesting incidents of this part of the Biography.  From Wasserburg, Leopold Mozart writes, “We went up to the organ to amuse ourselves, where I explained the pedals to Wolfgang.  He began instantly to make an attempt with them, pushed back the stool and preluded standing, treading the bass to his harmonies as if he had practised for months.”  The violin-playing of Nardini, whom the party heard at Ludwigsberg, is much praised by Leopold Mozart for the neatness of the execution, and the beauty and equality of the tone.  At Frankfort, Wolfgang one morning on waking began to cry.  His father asked him the reason.  He said he was so sorry at not being able to see his friends Hagenaur, Wenzl, Spitzeder, and Reibl.  Though the children performed