ed to
having his audiences indulge in cards, and so informed the chamberlain,
absolutely declining to play unless the cards were put aside for the
time being. It was a delicate task that fell to the lot of the
chamberlain, but he carried it through with the greatest diplomacy, each
side making a slight concession: the king on his part promising to
abstain from card playing during Spohr's performance on condition that
the violinist's two pieces should immediately follow each other on the
program, and Spohr withdrawing his embargo from the whole concert on
condition that the king would abstain from his favourite amusement
during his particular performance. The king, however, seems to have put
in the last blow, for on the conclusion of the violin solos he gave no
signal for applause, and as it would be a breach of court manners for
any one to applaud without his Majesty's consent, the artist was obliged
to make his bow and retire amidst deathly silence.

In 1808 Spohr wrote his first opera, but although it was accepted for
representation, it was never performed in public.

During this year Napoleon held his celebrated congress of princes at
Erfurt. Spohr was consumed by a burning desire to behold Napoleon and
the surrounding princes, and went to Erfurt. Here he found that a
French theatrical troupe was performing every evening before the august
assembly, but only the privileged few could by any possibility gain
admittance to the theatre. Spohr's ingenuity was equal to the emergency,
and making friends with the second horn player, he induced that artist
to allow him to substitute for him one night. Spohr had never in his
life attempted to play the horn, but it was now necessary for him to
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 hi