The ancient _protégé_ of the Empress was a little neglected under the Restoration. Nevertheless he composed an "occasional" opera, "Pélage ou le Roi et la Paix" (April 23, 1814); June 21, he brought out a mediocre opera ballet, "Les Dieux Rivaux," on the occasion of the marriage of the Duc de Berry (Persuis, Berton, and Kreutzer had also collaborated for one); he brought about in 1817 a brilliant revival of "Ferdinand Cortez," remodelled throughout; finally he gave, on the 20th of December, 1819, his opera of "Olympia," which showed here and there the hand of the great composer, but which was in every respect inferior to "La Vestale" and "Cortez." It was a complete failure in Paris, but in 1821 the work, having been rewritten to a great extent, was given in Berlin with great _éclat_. This was a double triumph for Spontini, it being his revenge on Paris and his crowning success in the German states. For a long time, indeed, the king of Prussia, Frederick William III., had cherished the most sincere admiration for him. In 1814 he demanded of him several pieces for the music of his guard, and after hearing, in 1818, the remodelled "Ferdinand Cortez," he desired to attach this great musician to his court. Spontini was not satisfied with the title of royal capellmeister, and notwithstanding the opposition of the Count of Brühl, intendant of the royal theatre, he obtained, by contract signed in August, 1819, the position of general director of music, at a salary of 10,000 Prussian thalers (about $7,000). He went to Berlin, therefore, and occupied this important post from 1820 to 1840, exercising a considerable influence on all that pertained to musical art in Prussia, elevating the standard of education for the artists, and composing numerous cantatas or works for special occasions which his court duties required him to write. He also brought out two new works at the Berlin Opera House: in 1821, the opera ballet "Nurmahal," taken from Moore's poem "Lalla Rookh"; in 1825, "Alcidor"; and in 1827 he wrote the grand romantic opera "Agnes von Hohenstaufen," the first act of which had been played ten years before at a royal _fête_. All these productions added nothing to his glory, and have fallen into oblivion. The performance of "Agnes" called forth a very violent criticism from Rellstab, the representative of all Spontini's enemies in Germany, and who had just been made editor of the "Vossische Zeitung." Indeed, when Spontini arrived in Berlin to assume his duties, he soon saw in league against him all the German musicians and composers, over whose heads he had stepped.