“But art!” again interrupted his friend; “the art of which you are one of the finest representatives—­you can not have entirely abandoned it?”

“Art will lose nothing,” rejoined Viotti, “and you will find that I can conciliate two things without interfering with either, though you doubtless consider them irreconcilable.  We will continue this subject another time; at present I must leave you; I have some pressing business to transact this afternoon.  But come and dine with me at six o’clock, and be sure you do not disappoint me.”

Garat, who relates this conversation, tells us that at the appointed 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 name, he may be assured of the gratitude of his devoted servant,