The ancient protégé of the Empress was a little neglected under the Restoration. Nevertheless he composed an "occasional" opera, "Pélage ou le Roi et la Paix" (April 23, 1814); June 21, he brought out a mediocre opera ballet, "Les Dieux Rivaux," on the occasion of the marriage of the Duc de Berry (Persuis, Berton, and Kreutzer had also collaborated for one); he brought about in 1817 a brilliant revival of "Ferdinand Cortez," remodelled throughout; finally he gave, on the 20th of December, 1819, his opera of "Olympia," which showed here and there the hand of the great composer, but which was in every respect inferior to "La Vestale" and "Cortez." It was a complete failure in Paris, but in 1821 the work, having been rewritten to a great extent, was given in Berlin with great éclat. This was a double triumph for Spontini, it being his revenge on Paris and his crowning success in the German states. For a long time, indeed, the king of Prussia, Frederick William III., had cherished the most sincere admiration for him. In 1814 he demanded of him several pieces for the music of his guard, and after hearing, in 1818, the remodelled "Ferdinand Cortez," he desired to attach this great musician to his court. Spontini was not satisfied with the title of royal capellmeister, and notwithstanding the opposition of the Count of Brühl, intendant of the royal theatre, he obtained, by contract signed in August, 1819, the position of general director of music, at a salary of 10,000 Prussian thalers (about $7,000). He went to Berlin, therefore, and occupied this important post from 1820 to 1840, exercising a considerable influence on all that pertained to musical art in Prussia, elevating the standard of education for the artists, and composing numerous cantatas or works for special occasions which his court duties required him to write. He also brought out two new works at the Berlin Opera House: in 1821, the opera ballet "Nurmahal," taken from Moore's poem "Lalla Rookh"; in 1825, "Alcidor"; and in 1827 he wrote the grand romantic opera "Agnes von Hohenstaufen," the first act of which had been played ten years before at a royal fête. All these productions added nothing to his glory, and have fallen into oblivion.

The performance of "Agnes" called forth a very violent criticism from Rellstab, the representative of all Spontini's enemies in Germany, and who had just been made editor of the "Vossische Zeitung." Indeed, when Spontini arrived in Berlin to assume his duties, he soon saw in league against him all the German musicians and composers, over whose heads he had stepped.

Though generous and obliging, his pride was deeply hurt by these hostilities, and he could not conceal deep irritation at the cavillings of his enemies, to which he gave a sharp retort. He had caused to be suppressed a pamphlet in which Rellstab had accused him of withholding from the stage, or else playing with an evident intention of ruining them, the works of composers whom he had reason to fear; he had brought about Rellstab's arrest and detention for several months for a spiteful article in which the critic expressed doubt that the composer of "Nurmahal," "Alcidor," and "Agnes" was the same as the composer of "La Vestale" and "Cortez." But Rellstab responded with violent satires published at Mayence, in which Spontini, without being named, was easily recognizable by his personal peculiarities of manner and speech, which were cleverly depicted. Finally, as the natural result of Rellstab's imprisonment, the entire party of which he was the mouthpiece redoubled its spiteful attacks against Spontini.

Thenceforth the latter, feeling himself more and more an object of attack, began to cherish the project of returning to France. His absence had calmed all the jealousies which his colossal self-love had excited against him, and in one of the long vacations which he spent in Italy or France during his twenty years' service in Prussia, there had been talk of his writing for the Paris Opéra a grand work, "Les Athéniennes," in place of the opera "Louis IX.," which Louis XVIII. had previously wished him to compose, and the first ideas of which he had put on paper. At length, in 1838, the Académie des Beaux Arts nominated him, unhesitatingly, in Paër's place, provided he would return and settle in Paris. His protector, King Frederick William III., died in August, 1840; but even if this event had not taken place, Spontini would not have accepted a third engagement of ten years with the royal house of Prussia. The new king would have preferred to retain him, but the disgust which Spontini felt at the open hostility of the intendant of the royal theatre, and also the promise which he had made to his colleagues of the Institute of France, decided him to refuse these overtures. He left Berlin in July, 1842, under conditions very painful to his self-love, but advantageous to his purse, since the king provided that he should retain all his honorary titles and receive an annual pension of about $3,200.

On his return to Paris, after a certain time passed in Italy, he sought to have his old operas revived, but he, who had dubbed as barbarous all the music which had taken root at the Opèra in his absence, encountered only animosity, and was unable to carry out his plans. On the other hand, his "Vestale" had achieved great success in Denmark; some fragments of it were sung and much applauded at Cologne in 1847; and Spontini, ennobled by the king of Denmark, made Conte de San Andrea by the Pope, was gloriously received by the king of Prussia when he returned as a visitor to the capital. Such were the last gratifications of self-love which this great composer experienced; and although France had not much more to offer him, he always returned to that country, and chose Paris above all other places for his home.

At last, when his memory and hearing began to fail, he felt that the beautiful climate of his native country might restore his health, and he left Paris in 1850 to return to the Roman States. He was received at Jesi with honors which are by custom reserved for sovereigns. Then he wished to visit once more his native town, Majolati. He had been there several months, when one day, while suffering from a very bad cold, he insisted on going to mass, in spite of the earnest remonstrances of his wife. There he took more cold, fever set in, and the illustrious composer died on the 24th of January, 1851, at the age of seventy-seven.

[[See larger version]]