"Well, General," continued the composer, "I have come to place myself at
your majesty's orders."

"I must really beg you," rejoined Napoleon, "not to address me in this
manner."

"Forgive me, General," said Paisiello. "But I cannot give up the habit
I have contracted in addressing sovereigns, who, compared with you, are
but pigmies. However, I will not forget your commands, and, if I have
been unfortunate enough to offend, I must throw myself on your majesty's
indulgence."

Paisiello received ten thousand francs for the mass written for
Napoleon's coronation, and one thousand for all others. As he produced
masses with great rapidity, he could very well afford to neglect
operatic writing during this period. His masses were pasticcio work made
up of pieces selected from his operas and other compositions. This could
be easily done, for music is arbitrary in its associations. Love songs
of a passionate and sentimental cast were quickly made religious by
suitable words. Thus the same melody will depict equally well the rage
of a baffled conspirator, the jealousy of an injured husband, the grief
of lovers about to part, the despondency of a man bent on suicide, the
devotion of the nun, or the rapt adoration of worship. A different text
and a slight change in time effect the marvel, and hardly a composer
has disdained to borrow from one work to enrich another. His only opera
composed in Paris, "Proserpine," was not successful.

Failure of health obliged Paisiello to return to Naples, when he
again entered the service of the king. Attached to the fortunes of the