In the autumn of the year following, a visit was paid by Haydn to Bonn on his return from his second journey to London. The musicians of the town gave a breakfast at Godesberg in his honor, and here Beethoven summoned up courage to show the veteran musician a cantata which he had recently composed. This was warmly praised by Haydn, and probably about this time arrangements were made for Beethoven to be received as a pupil by the older master. It is in this period that we must place a well-known anecdote. The young musician, already famous in his own neighborhood, was composing, as his custom was, in the wood outside the city, when a funeral cortége passed him. The priest, seeing him, instantly checked the dirge which was being chanted, and the procession passed in solemn silence, "for fear of disturbing him." In the beginning of November, 1792, the young musician left Bonn for Vienna, and, as it happened, he never afterward returned to the familiar scenes of his birthplace. Beethoven was never a very easy man to get on with, and his intercourse with Haydn, who used to call him the "Great Mogul," does not seem to have been the most friendly. He was dissatisfied with the instruction given him, and suspicions were awakened in his mind that the elder musician was jealous of him, and did not wish him to improve. These thoughts were strengthened by the result of a chance meeting one day, as he was walking home with his portfolio under his arm, with Johann Schenk, a scientific and thoroughly accomplished musician. Beethoven complained to him of the little advance he was making in counterpoint, and that Haydn never corrected his exercises or taught him anything. Schenk asked to look through the portfolio, and see the last work that Haydn had revised, and on examining it he was astonished to find a number of mistakes that had not been pointed out. It is difficult to understand Haydn's conduct in this matter, for the perfidious treatment suspected by Beethoven is quite at variance with the ordinarily accepted character of the old man, and I cannot help fancying that the only foundation for Beethoven's suspicion was that Haydn did not quite understand the erratic genius of the youth till some time afterward. Beethoven dedicated his three pianoforte sonatas, Op. II., to Haydn, and when the latter suggested that he should add on the title page "Pupil of Haydn," the "Great Mogul" refused, bluntly saying "that he had never learnt anything from him." After Haydn, Albrechtsberger and Salieri were for a time his teachers, but Beethoven got on no better with them, and Albrechtsberger said, "Have nothing to do with him; he has learnt nothing, and will never do anything in decent style." Perhaps not in your pedant's style, O great contrapuntist!