acquire the art before night, and he set to work with such vim that by
the time of the performance his lips were swollen and black, but he was
able to produce the requisite tones. The orchestra having received
strict injunctions to sit with their backs to the brilliant assembly,
probably to protect their eyesight from its dazzling effects, Spohr
fitted himself out with a small mirror, and placing this upon his
music-rack, he was able to enjoy for a couple of hours the vision of the
great Napoleon, who, with his most distinguished guests, occupied the
front row of the stalls.

Spohr remained at Gotha until 1813, when he was offered and accepted the
post of the leadership at the Theatre an der Wien at Vienna, and while
here he composed his opera of "Faust," which, however, was not produced
at that time. He also wrote a cantata in celebration of the battle of
Leipzig, which he did not succeed in producing, and not feeling
satisfied with his position, and having various disagreements with the
management, the engagement was cancelled by mutual consent. During his
stay in Vienna Spohr was frequently in contact with Beethoven, and
though he admired that great master he criticised some of his
compositions very severely, and is said to have remarked that "Beethoven
was wanting in aesthetic culture and sense of beauty," a remark
difficult to understand in these later days. It is the more
incomprehensible from the fact that Spohr in after years was the very
first musician of eminence to interest himself in Wagner's talent, for
he brought out at Cassel "Der Fliegende Holländer," and continued with
"Tannhäuser," notwithstanding the opposition of the court. He considered
Wagner to be by far the greatest of all dramatic composers living at
that time. In 1815 he made a concert tour in France and Italy, during
which he met Rossini and Paganini, playing at Venice a sinfonia
concertante of his own composition, with the latter.