I was therefore duly received at the Commandant’s residence by this military man, whose bearing struck me as stately, almost to the point of rudeness. He chatted very intelligently with me, frankly confessing his delight in my music, and listening very attentively to the report of my flagrantly futile addresses to the Emperor, as well as to my expressions of suspicion regarding Fould. I was told later that he spoke very plainly to Fould that very evening at the Tuileries on my behalf.
This much at least is certain, that from that moment I noticed that my affairs took a more favourable turn in that quarter. Yet the deciding factor was found at last in a movement on my behalf from a source I had hitherto entirely disregarded. Bulow, arrested by his interest in the outcome of these matters, continued to prolong his stay in Paris. He had come with letters of introduction from the Princess-Regent of Prussia to the Ambassador, Count Pourtales. His hope that the latter might eventually express a desire to have me presented to him had so far remained unfulfilled. In order, therefore, to compel him to make my acquaintance, he finally adopted the plan of inviting the Prussian Ambassador and his attache, Count Paul Hatzfeld, to lunch at Vachette’s, a first-class restaurant, where I was to accompany him. The result of this meeting was certainly everything that could be desired. Not only did Count Pourtales charm me with the simplicity and undisguised warmth of his conversation and attitude towards me, but from this time forward Count Hatzfeld used to visit me and also frequented my Wednesday evening At Homes, and at last brought me the news that there was a distinct movement in my favour at the Tuileries. Finally, one day he requested me to go with him to call on the Emperor’s military chamberlain, Count Bacciochi, and from this official I received the first hints of a reply to my earlier application to his Imperial Majesty, who now expressed a wish to know why I wanted to give a concert in the Grand Opera House. No one, he said, took any serious interest in such enterprises, and it could do me no good. He thought it might perhaps be better if he were to persuade M. Alphonse Royer, the director of this imperial institution, to come to some understanding with me respecting the composition of an opera written on purpose for Paris. As I would not agree to his suggestion, this and other subsequent interviews remained for the time being without result. On one of these occasions Bulow