tered Weber that "Her views
of high art were not above the usual pitiful standard, namely, that it
was but a means of procuring soup, meat, and shirts." There can be no
doubt, however, that her influence was of the utmost value in steadying
his efforts.

When Weber was once back in Prague, her real love for him overcame all
scruples, and she showed herself ready to wait until he should attain a
post of sufficient value to permit their marriage. After putting the
Prague opera on a stable basis, he looked about for a long time in vain,
until finally he obtained a life position as conductor in Dresden. At
last he was able to return to Prague and marry his faithful Caroline,
with the certainty of being able to provide her a home. The newly wedded
pair made a triumphant concert tour, and settled down to a life of
domestic felicity in Dresden. It can hardly be said that Weber lived
happily ever afterward, for he found many troubles in connection with
his new post. But his married life was such a constant source of joy to
him that he felt always inspired with fresh energy to overcome all
difficulties. It was during his married career that he won those immense
popular successes, with "Der Freischuetz," "Euryanthe," and "Oberon,"
that gave the most brilliant lustre to a name already immortal. The last
opera took him to London, away from his beloved family. Aware of his
failing health, he made every effort to reach home, but that boon was
denied him, and he died without another view of those who would have
been anxious to soothe his last moments.

Ludwig Spohr was another composer who possessed a musical wife. He came
of a musical family, his father being a flutist, while his mother played
the piano and sang. Ludwig took up the violin at five years of age, and
at six was able to take part in concerted music. His compositions began
at about the same time. After a youth of earnest study, long practice,
and successful tours, he finally became leader in the band of the Duke
of Gotha. It was there that he met Dorette Scheidler, the famous
harpist, whom he afterward married. Her influence is seen in his later
compositions, for he wrote for her a number of sonatas for harp and
violin, as well as a good many harp solos. The musical pair went on many
tours, always sharing the honours of the performances.

Still more evident is the influence of woman upon music in the case of
Hector Berlioz. This great genius, born in 1803, was the son o