worked indefatigably to overcome his defects of voice, and perfect his
equipment as an artist. Manuel Garcia, the most scientific and exacting
of singing teachers, was the _maestro_ under whom Nourrit acquired
that large and noble style for which he became eminent. He soon became
principal tenor at the Académie, and created all of the leading tenor
rôles of the operas produced in France for ten years. Among these may
be mentioned _Néoclès_ in "La Siège de Corinthe," _Masaniello_ in "La
Muette de Portici,"_Arnold_ in "Guillaume Tell," _Leonardo da Vinci_
in Ginestell's "François I," _Un Lnconnu_ in "Le Dieu et la Bayadere,"
_Robert le Diable, Edmond_ in "La Serment," _Nadir_ in Cherubini's "Ali
Baba," _Eleazar_ in "La Juive," _Raoul_ in "Les Huguenots," _Phobus_ in
Bertini's "La Esmeralda," and _Stradella_ in Niedermeyer's opera.

Nourrit gave a distinct stamp and a flavor to all the parts he created,
and his comedy was no less refined and pleasing than his tragedy
was pathetic and commanding. He was idolized by the public, and his
influence with them and with his brother artists was great. He was
consulted by managers, composers, and authors. He wrote the words for
Eleazar's fine air in "La Juive," and furnished the suggestions on which
Meyerbeer remodeled the second and third acts of "Robert le Diable" and
the last act of "Les Huguenots." The libretti for the ballets of "La
Sylphide," "La Tempête," "L'île des Pirates," "Le Diable Boiteux," etc.,
as danced by Taglioni and Fanny Elssler, were written by this versatile
man, and he composed many charming songs, which are still favorites
in French drawing-rooms. It was Nourrit who popularized the songs of
Schubert, and otherwise softened the French prejudice against modern
German music. In private life this great artist was so witty, genial,
and refined, that he was a favorite guest in the most distinguished and
exclusive _salons_. When Duprez was engaged at the opera it severely
mortified Nourrit, and, rather than divide the honors with a new singer,