fame. The writer Bouilly who had been engaged to his daughter Antoine, has drawn this pleasing though slightly turgid portrait of the old man: "All the most striking marks of wit and delicacy were stamped upon his venerable face. Through the dignity of a great artist accustomed to the homage of the most distinguished, there pierced a geniality that charmed and broke down barriers. An old-fashioned Liége accent, which he had retained from infancy, gave his words a sort of attraction that doubled their expressiveness. I felt that I was looking on Anacreon, or on an Orpheus who had taken a new form to enchant mortals with the ravishing sounds of his lyre."
Fétis, in his Universal Biography of Musicians, gives a different impression of his illustrious compatriot. He tells us that Grétry's society was by no means agreeable because he always brought the conversation round to his own work. It is indeed true that nothing is more trying than this trick, which is so usual with artists: one readily excuses it at a distance, but it is unbearable at close quarters. It is probable that both Fétis and Bouilly have done him justice, and that with age Grétry improved and was less absorbed in himself. That also is quite usual.
XI
If I could feel that this rapid sketch of Grétry's life, work, and ideas has entertained my readers, it would be a great satisfaction to me. But I aim at another result. I would like in the measure of my humble ability, to restore him to favour, and help to drag his best works out of the dust of libraries. It is true that for their performance there would be two great difficultties to overcome, but neither of them is insuperable.
