striking and important both in style and treatment. Nevertheless the two symphonies both belong to the same time and style, and indicate in a curious way a transition in Mozart's instrumental music; the positive influence of Haydn's symphonies is nowhere so clearly apparent as in these two works. The very fact that in both cases the allegro is preceded by a pathetic, somewhat lengthy adagio is very significant; this is a well-known arrangement of Haydn's, but was only exceptionally made use of by Mozart. The same influence is visible everywhere; in the lively, rapid, and brilliant character of the whole, in the effort to please and amuse by humorous turns and unexpected contrasts of every kind in the harmonies, in the alternations of _f_ and _p_, and in the instrumental effects. A remarkable instance of this is the andante of the Symphony in G major. The very theme, the simple bass, the triplet passage for the second violin, then the minor with the figure in the bass, and the sharp accentuation, are all completely Haydn-like features. The counterpoint of the finale of both symphonies reminds us of Haydn's manner.[13] It need scarcely be said, however, that there is no trace of servile imitation in either work, and that Mozart's originality asserts itself here as elsewhere. A comparison of the Symphony in E flat major (543 K., composed June 26, 1788) shows also many more points of resemblance to Haydn's style than other works of the same date; but Mozart's individuality is here so overpowering as to have given its distinguishing stamp to these very features. The fact that Mozart wrote a symphony within the course of a few days will excite no surprise; it is worthy of note that during his stay in Linz he copied an "Ecce Homo" which made a great impression on him, for his wife, with the inscription "Dessiné par W. A. Mozart, Linz, ce 13 Novembre, 1783; dédié ä Madame Mozart son épouse"; she {MOZART'S FAMILY AND FRIENDS.} (320) preserved it as a proof "that he had some talent for drawing," as she wrote to Härtel (July 21, 1800). In the year 1785 Leopold Mozart returned the visit of his son and daughter-in-law, and remained their guest from February 10 to April 25. He convinced himself that their income ought to be more than sufficient for the support of the household, and took great delight in his second grandchild Carl, now six months old, "a healthy, lively, merry child."