favorite of the Russian Messalina, her favor was shown in a still more striking way.  The marshal had given the musician a blow, on which Paisiello, a very large, athletic man, drubbed the Russian general most unmercifully.  The latter demanded the immediate dismissal of the composer for having insulted a dignitary of the empire.  Catherine’s reply was similar to the one made by Francis the First of France in a parallel case about Leonardo da Vinci:  “I neither can nor will attend to your request;’ you forgot your dignity when you gave an unoffending man and a great artist a blow.  Are you surprised that he should have forgotten it too?  As for rank, it is in my power to make fifty marshals, but not one Paisiello.”

Some years after his return to Italy, he was engaged by Napoleon as chapel-master; for that despot ruled the art and literature of his times as autocratically as their politics.  Though Paisiello did not wish to obey the mandate, to refuse was ruin.  The French ruler had already shown his favor by giving him the preference over Cherubim in several important musical contests, for the latter had always displayed stern independence of courtly favor.  On Paisiello’s arrival in Paris, several lucrative appointments indicated the sincerity of Napoleon’s intentions.  The composer did not hesitate to stand on his rights as a musician on all occasions.  When Napoleon complained of the inefficiency of the chapel service, he said, courageously:  “I can’t blame people for doing their duty carelessly, when they are not justly paid.”  The cunning Italian knew how to flatter, though, when occasion served.  He once addressed his master as “Sire.”

“‘Sire,’ what do you mean?” answered the first consul.  “I am a general and nothing more.”

“Well, General,” continued the composer, “I have come to place myself at your majesty’s orders.”

“I must really beg you,” rejoined Napoleon, “not to address me in this manner.”

“Forgive me, General,” said Paisiello.  “But I cannot give up the habit I have contracted in addressing sovereigns, who, compared with you, are but pigmies.  However, I will not forget your commands, and, if I have been unfortunate enough to offend, I must throw myself on your majesty’s indulgence.”

Paisiello received ten thousand francs for the mass written for Napoleon’s coronation, and one thousand for all others.  As he produced masses with great rapidity, he could very well afford to neglect operatic writing during this period.  His masses were pasticcio work made up of pieces selected from his operas and other compositions.  This could be easily done, for music is arbitrary in its associations.  Love songs of a passionate and sentimental cast were quickly made religious by suitable words.  Thus the same melody will depict equally well the rage of a baffled conspirator, the jealousy of an injured husband, the grief of lovers about to part, the despondency of a man bent on suicide, the devotion of the nun, or the rapt adoration of worship.  A different text and a slight change in time effect the marvel, and hardly a composer has disdained to borrow from one work to enrich another.  His only opera composed in Paris, “Proserpine,” was not successful.