After this it is not surprising that the first of the critical letters on music which were published under Marpurg's direction at Berlin in 1759 and 1760 should be addressed to L. Mozart, with the declaration that the society which proposed to address each letter to some person of distinction, could not make a fitter commencement than with him. Schubart says,[10022] "He gained great reputation through his 'Method,' which is written in good German, and with admirable judgment. The examples are well chosen, and the system of fingering not in the least pedantic; the author doubtless inclines to the school of Tartini, but he permits greater freedom in the management of the bow." Zelter expresses himself in the same spirit:[10023] "His 'Violin Method' is a work which will be of use as long as the violin is an instrument. It is well written, too." The praise of the author's style of writing is characteristic and well deserved; it was then a far rarer distinction among artists than at present. L. Mozart's style is sharp and clear; his sarcastic turn of mind is so prominent that he apologises for it in the preface, although it is not unusual in the musical literature of the time. Both in this book and in his letters he proves himself a man who has not only acquired cultivation by intercourse with the world and by travel, but who is well acquainted with literature, has read with taste and discernment, and has well-defined and judicious opinions {L. MOZART'S POSITION IN SALZBURG.} (17) both on aesthetic and moral subjects. He addressed to the poet Gellert a letter so full of veneration that Gellert replied in the warmest terms, as the following extract will show:-- I should be insensible, indeed, if the extraordinary kindness with which you honoured me had left me unmoved, and I should be the most ungrateful of men if I could have received your letter without acknowledgment. I accept your love and friendship, my dear sir, with the same frankness with which they are offered. Do you, indeed, read my works and encourage your friends to do the same? Such approbation, I can truly say, was more than I could have dared to hope from such a quarter. Does my last poem, "Der Christ," meet with your approval? I venture to answer myself in the affirmative. To this I am encouraged by the subject of the poem, your own noble spirit, as unwittingly you display it in your letters, and by my consciousness of honest endeavour. Baron von Bose presented "the little Orpheus of seven years old," when in Paris, with Gellert's songs, recommending him to borrow their irresistible harmonies, "so that the hardened atheist may read and mark them, may hear them and fall down and worship God." Perhaps this gift gave occasion to the letter. Wolfgang informs his sister at a later date, from Milan, of the death of Gellert, which took place there.