From a photograph of monument by Fantacchiotti in San Croce Church, Florence, Italy.]
A position of more importance than any he had yet occupied awaited our artist in the year 1822. The management of the _École Royale_ (after 1830 it was again called the _Conservatoire_) had been intrusted in 1816 to the highly esteemed writer upon musical history, François Louis Perne, who did not prove equal to the undertaking, and Cherubini was now called upon to fill his place. So great was his success as director of the institution that it not only rose at once to its former level, but became a model of completeness. Nor is it too much to say that the prestige still attached to the name of the Paris _Conservatoire_ owes its origin to Cherubini, who united in himself all the qualities necessary for the proper fulfilment of the responsibilities which rested upon him. The influence and authority which a world-wide reputation bestows belonged to him by right. As a composer, the bent of his mind was serious and earnest, and had always led him to profit by the accumulated experience of centuries in laying the foundation for his own life-work. In addition, he possessed that talent for organization and direction which is so rare with artists. Extreme punctuality and love of order, untiring industry and severity towards himself and others, were among his most prominent characteristics, which perhaps were developed to an unnecessary extent, causing him to demand complete submission to his will on the part of others, and discouraging the expression of any individuality or independence, often denying even that degree of personal freedom to which all mankind are entitled. Both by teachers and pupils he was more feared than beloved. His taciturnity, the harsh and frequently sarcastic enunciation of his decisions, his obstinacy and pedantry, increased with years and rendered co-operation with him no easy task. Talent of an extravagant order found no favor in his eyes, and the dislike which Berlioz felt for him during his student days was reciprocated by the most open depreciation on Cherubini's part. But with all that may be said, it is impossible to detract from the inestimable service rendered by him as director of the _Conservatoire_, both to the institution itself and to the French music in general. The publication of his celebrated instruction book, "Cours de Contrepoint et de Fugue," which was introduced into the classes of the Conservatory, took place in the later years of his life. The text of this book was not written by Cherubini himself but by one of his pupils; Fétis thinks by Halévy. In the matter of oral explanations, the master was exceedingly chary. He pointed out in the clearest manner what must be done, but no reasons were given as to why it should be thus, and not otherwise; he never liked to talk much about his art. Taking his method as a whole, too much cannot be said in its praise. In the matter of counterpoint he did not confine himself to the rules laid down in the sixteenth century, but embraced with his comprehensive glance the whole domain of modern music.