In 1821 Moscheles writes in his diary, apropos of Cherubini and his artistic surroundings:  “I spent the evening at Ciceri’s, son in-law of Isabey, the famous painter, where I was introduced to one of the most interesting circles of artists.  In the first room were assembled the most famous painters, engaged in drawing several things for their own amusement.  In the midst of these was Cherubim, also drawing.  I had the honor, like every one newly introduced, of having my portrait taken in caricature.  Begasse took me in hand and succeeded well.  In an adjoining room were musicians and actors, among them Ponchard, Levasseur, Dugazon, Panseron, Mlle, de Munck, and Mme. Livere, of the Theatre Francais.  The most interesting of their performances, which I attended merely as a listener, was a vocal quartet by Cherubini, performed under his direction.  Later in the evening, the whole party armed itself with larger or smaller ‘mirlitons’ (reed-pipe whistles), and on these small monotonous instruments, sometimes made of sugar, they played, after the fashion of Russian horn music, the overture to ‘Demophon,’ two frying-pans representing the drums.”  On the 27th of March this “mirliton” concert was repeated at Ciceri’s, and on this occasion Cherubini took an active part.  Moscheles relates of that evening:  “Horace Vernet entertained us with his ventriloquizing powers, M. Salmon with his imitation of a horn, and Dugazon actually with a mirliton solo.  Lafont and I represented the classical music, which, after all, held its own.”

The distinguished pianist, in further pleasant gossip about Cherubini, tells us of hearing the first performance of a pasticcio opera, composed by Cherubini, Paer, Berton, Boieldieu, and Kreutzer, in honor of the christening of the Duke of Bordeaux.  Of the part written by Cherubini he speaks in the warmest praise, and says quizzically of the composer:  “His squeaky sharp little voice was sometimes heard in the midst of his conducting, and interrupted my state of ecstasy caused by his presence and composition.”

In 1822 Cherubini became Director of the reestablished Conservatory, that institution having fallen into some decay, and displayed great administrative power and grasp of detail in bringing order out of chaos.  His vigilance and experience, seconded by an able staff of professors, including the foremost musical names of France, soon made the Conservatory what it has since re? mained, the greatest musical college of the world.  He was incessant in the performance of his duties, and spared neither himself nor his staff of professors to build up the institution.  His spirit communicated itself both to masters and pupils.  Ten o’clock every morning saw him at his office, and interviews even with the great were timed watch in hand.  This law of order even prompted him to rebuke the Minister of Fine Arts severely when one day that functionary met an appointment tardily.  Fetis tells us:  “To his new functions he