This state of things might have gone on much longer had not Marie Antoinette remarked one day, in her mother's hearing, that her copies were always pencilled for her before she wrote them. This startled the empress, and, in her usual energetic manner, she began making inquiries as to the methods of teaching pursued by her daughter's governesses. The end of it was that these ladies were dismissed, and the Comtesse de Brandès, a clever and trustworthy woman, took charge of the education of the young archduchess. The change was very much for the better, but it came rather late for Marie Antoinette. She had never been forced to fix her attention steadily upon anything, or to do anything that she did not like. The slightest sound would distract her thoughts, and she would break off in the midst of the 'History of the Thirty Years' War,' or the account of the appearance of John Sobieski before the walls of Vienna, to wonder if she would be allowed to appear at the approaching fête, or what operas would be given in the coming week. For Marie Antoinette, like all her family, was extremely fond of music, and though she could never play well herself on any instrument, she had a sweet voice, which was carefully cultivated. When she was nearly seven years old there was great excitement in the palace of Schönbrünn, near Vienna, at the news that a little boy called Mozart, younger even than Marie Antoinette, was coming from Salzburg to play to them. 'What instrument did he play on? Oh! both the harpsichord (a sort of piano), and the violin. And he could _compose_ too! Think of that, at six years old! Would Wednesday never come, that they might hear him!'