Taken to Vienna, the six-year-old virtuoso astonished the court by his brilliant talents. The future Queen of France, Marie Antoinette, was particularly delighted with him, and the little Mozart naively said he would like to marry her, for she was so good to him. His father devoted several years to an artistic tour, with him and his little less talented sister, through the German cities, and it was also extended to Paris and London. Everywhere the greatest enthusiasm was evinced in this charming bud of promise. The father writes home: "We have swords, laces, mantillas, snuff-boxes, gold cases, sufficient to furnish a shop; but as for money, it is a scarce article, and I am positively poor." At Paris they were warmly received at the court, and the boy is said to have expressed his surprise when Mme. Pompadour refused to kiss him, saying: "Who is she, that she will not kiss me? Have I not been kissed by the queen?" In London his improvisations and piano sonatas excited the greatest admiration. Here he also published his third work. These journeys were an uninterrupted chain of triumphs for the child-virtuoso on the piano, organ, violin, and in singing. He was made honorary member of the Academies of Bologna and Verona, decorated with orders, and received at the age of thirteen an order to write the opera of "Mithridates," which was successfully produced at Milan in 1770. Several other fine minor compositions were also written to order at this time for his Italian admirers. At Rome Mozart attended the Sistine Chapel and wrote the score of Allegri's great mass, forbidden by the pope to be copied, from the memory of a single performance. The record of Mozart's youthful triumphs might be extended at great length; but aside from the proof they furnish of his extraordinary precocity, they have lent little vital significance in the great problem of his career, except so far as they stimulated the marvelous boy to lay a deep foundation for his greater future, which, short as it was, was fruitful in undying results. II. Mozart's life in Paris, where he lived with his mother in 1778 and 1779, was a disappointment, for he despised the French nation. His deep, simple, German nature revolted from Parisian frivolity, in which he found only sensuality and coarseness, disguised under a thin veneering of social grace. He abhorred French music in these bitter terms: "The French are and always will be downright donkeys. They cannot sing, they scream." It was just at this time that Gluck and Piccini were having their great art-duel. We get a glimpse of the pious tendency of the young composer in his characterization of Voltaire: "The ungodly arch-villain, Voltaire, has just died like a dog." Again he writes: "Friends who have no religion cannot long be my friends.... I have such a sense of religion that I shall never do anything that I would not do before the whole world."