which is partly fugued, partly worked out in a free imitation, showing, as one might expect, the uncertain hand of a boy. But it is plain that he was considered as an established composer. His father's talent, too, met with flattering recognition; his Violin Method was translated into Dutch, and dedicated to the Prince of Orange on his accession.[20044] The publisher brought it to Leopold Mozart, accompanied by the organist, who invited Wolfgang to play on the great organ at Haarlem, which he did on the following day. At length they travelled by way of Mechlin to Paris, where they arrived on May 10, and established themselves in a lodging provided by their friend Grimm. The progress made both by Wolfgang and his sister was acknowledged by all; but the public are more easily excited by the phenomenal performances of an infant prodigy than by the incomparably more important development of an extraordinary genius, and the interest in the children does not appear to have been so great as on their former visit. Nevertheless, they played repeatedly at Versailles; the Princess of Orleans, afterwards Duchess of Condé, thought herself honoured in presenting Wolfgang with a little rondo for piano and violin of her own composition.[20045] Prince Karl Wilhelm Ferdinand von Braunschweig, the Braunschweig Achilles, as Winckelmann calls him,[20046] who {PARIS, SWITZERLAND, 1766.} (47) had won his laurels in the seven years' war, sought them out in Paris. "He is pleasant, handsome, and amiable," writes L. Mozart, "and as soon as I went in, he asked me if I were the author of the Violin School." He had not only intelligence and good taste in music, but played the violin himself so well "that he might have made his fortune by it."[20047] He said of Wolfgang that many a kapellmeister had lived and died without having learnt as much as the boy knew now. He entered into competition with the most distinguished artists on the organ, the piano, or in improvisation, and either came off victor or with abundant honour. On June 12, he composed a little Kyrie for four voices with stringed accompaniment (33 K), that is precise and simple, but in style and form, and in the purity of its melody, approaches nearer to the Mozart of after life than any other composition of his boyhood.