inted
time he returned to the house. All the barrels and wagons that had
encumbered the courtyard were cleared away, and in their place were
coroneted carriages, with footmen and servants. A lackey in brilliant
livery conducted the visitor to the drawing-room on the first floor.
The apartments were magnificently furnished, and glittered with
mirrors, candelabra, gilt ornaments, and the most quaint and costly
_bric-a-brac_. Viotti received his guests at the head of the staircase,
no longer the plodding man of business, but the courtly, high-bred
gentleman. Garat's amazement was still further increased when he heard
the names of the other guests, all distinguished men. After an admirably
cooked dinner, there was still more admirable music, and Viotti proved
to the satisfaction of his French friend that he was still the same
great artist who had formerly delighted his listeners in Paris.

The wine business turned out so badly for our violinist that he was fain
to return to his old and legitimate profession. Through the intervention
of powerful friends in Paris, he was appointed director of the Grand
Opera, but he became discontented in a very onerous and irritating
position, and was retired at his own request with a pension. An
interesting letter from the great Italian composer Rossini, who was then
first trying his fortune in the French metropolis, written to Viotti
in 1821, is pleasant proof of the estimate placed on his talents and
influence:

"Most esteemed Sir: You will be surprised at receiving a letter from an
individual who has not the honor of your personal acquaintance, but I
profit by the liberality of feeling existing among artists to address
these lines to you through my friend Herold, from whom I have learned
with the greatest satisfaction the high, and, I fear, somewhat
undeserved opinion you have of me. The oratorio of 'Moise,' composed by
me three years ago, appears to our mutual friend susceptible of dramatic
adaptation to French words; and I, who have the greatest reliance on
Herold's taste and on his friendship for me, desire nothing more than to
render the entire work as perfect as possible, by composing new airs in
a more religious style than those which it at present contains, and
by endeavoring to the best of my power that the result shall neither
disgrace the composer of the partition, nor you, its patron and
protector. If M. Viotti, with his great celebrity, will consent to
be the Mecaenas of my