residence.
Standing in the middle of a salt marsh, forming the southern extremity
of the great lake called the Neusiedler-See, Esterhaz, as the palace
was named, was quite cut off from the outside world. The work of
draining and reclaiming the land, however, had effected such an
improvement that what in its primitive condition had been little
better than desolate swamp, resounding to the harsh cries of
wild-fowl, was now become a scene of veritable enchantment. The thick
wood which lay behind the house had been transformed into shady groves
and open glades for deer, whilst the front windows of the palace
looked upon extensive flower-gardens, with a profusion of hothouses,
summerhouses, arbours, and temples. The castle itself comprised a
hundred and sixty-two apartments, splendidly decorated, and filled
with costly collections of art. Even Eisenstadt itself paled before
the beauty and magnificence of this new palace of Aladdin which the
genie of wealth had raised on the dismal marsh.

The provision for music and acting was on a scale as elaborate as that
of the rest of the palace. A splendid theatre, designed and equipped
for the performance of operas and dramatic works, had been reared near
the castle, and beside this stood a smaller theatre, fitted up for the
marionette performances, to the perfecting of which the Prince had
devoted much attention. The orchestra was reinforced by travelling
players of eminence, whilst, in addition to singers especially engaged
from Italy, various strolling companies were invited to give their
services from time to time. It was an essential part of the scheme
that this body of musicians and actors--temporary as well as
permanent--should form one family, with Haydn as its head; but the
appellation of 'Father Haydn,' by which the Capellmeister was known to
the members of his orchestra, had its origin in an affection which
owed nothing to discipline or arrangement. 'Friend, go back to the
first _allegro_,' was the wording of a direction written by Haydn on
the cover of one of his confrere's music-books, and it may be taken as
an indication of the happy relations which existed between the chief
of orchestra and his men.

A picture of the daily life at Esterhaz from spring to autumn would
show a constant round of life in its fullest and gayest sense.
Visitors poured in at its hospitable gates in an unbroken stream; and
the strain upon those whose duty it was to provide amusement for the
p