In 1822 Cherubini became Director of the reestablished Conservatory,
that institution having fallen into some decay, and displayed great
administrative power and grasp of detail in bringing order out of chaos.
His vigilance and experience, seconded by an able staff of professors,
including the foremost musical names of France, soon made the
Conservatory what it has since re? mained, the greatest musical college
of the world. He was incessant in the performance of his duties, and
spared neither himself nor his staff of professors to build up the
institution. His spirit communicated itself both to masters and pupils.
Ten o'clock every morning saw him at his office, and interviews even
with the great were timed watch in hand. This law of order even prompted
him to rebuke the Minister of Fine Arts severely when one day that
functionary met an appointment tardily. Fétis tells us: "To his new
functions he brought the most scrupulous exactitude of duty, that spirit
of order which he possessed during the whole of his life, and an entire
devotion to the prosperity of the establishment. Severe and exacting
toward the professors and servants as he was with himself, he brought
with him little love in his connections with the artists placed under
his authority." His official duties finished, this incessant worker
occupied his time with original composition, or copying out the scores
of other composers from memory.

Though habitually cold and severe in his manner during these latter
years, there was a spring of playful tenderness beneath. One day a child
of great talent was brought by his father, a poor man, to see Cherubini.
The latter's first exclamation was: "This is not a nursing hospital for
infants." Relenting somewhat, he questioned the boy, and soon discovered
his remarkable talents. The same old man was charmed and caressed the
youngster, saying, "Bravo, my little friend! But why are you here, and
what can I do for you?" "A thing that is very easy, and which would make