Cherubini passed through Paris in 1784, while the Gluck-Piccini excitement was yet warm, and visited London as composer for the Royal Italian Opera. Here he became a constant visitor in courtly circles, and the Prince of Wales, the Duke of Queensbury, and other noble amateurs, conceived the warmest admiration for his character and abilities. For some reason, however, his operas written for England failed, and he quitted England in 1786, intending to return to Italy. But the fascinations of Paris held him, as they have done so many others, noticeably so among the great musicians; and what was designed as a flying visit became a life-long residence, with the exception of brief interruptions in Germany and Italy, whither he went to fill professional engagements. Cherubini took up his residence with his friend Viotti, who introduced him to the Queen, Marie Antoinette, and the highest society of the capital, then as now the art-centre of the world. He became an intimate of the brilliant salons of Mdme. de Polignac, Mdme. d'Etioles, Mdme. de Richelieu, and of the various bright assemblies where the wit, rank, and beauty of Paris gathered in the days just prior to the Revolution. The poet Marmontel became his intimate friend, and gave him the opera story of "Demophon" to set to music. It was at this period that Cherubini became acquainted with the works of Haydn, and learned from him how to unite depth with lightness, grace with power, jest with earnestness, and toying with dignity. A short visit to Italy for the carnival of 1788 resulted in the production of the opera of "Ifigenia in Aulide" at La Scala, Milan. The success was great, and this work, the last written for his native country, was given also at Florence and Parma with no less delight and approbation on the part of the public. Had Cherubini died at this time, he would have left nothing but an obscure name for Fétis's immense dictionary. Unlike Mozart and Schubert, who at the same age had reached their highest development, this robust and massive genius ripened slowly. With him as with Gluck, with whom he had so many affinities, a short life would have been fatal to renown. His last opera showed a turning point in his development. Halévy, his great disciple, speaks of this period as follows:--"He is already more nervous; there peeps out I know not exactly how much of force and virility of which the Italian musicians of his day did not know or did not seek the secret. It is the dawn of a new day. Cherubini was preparing himself for the combat. Gluck had accustomed France to the sublime energy of his masterpieces. Mozart had just written 'Le Nozze di Figaro' and 'Don Giovanni.' He must not lag behind. He must not be conquered. In that career which he was about to dare to enter, he met two giants. Like the athlete who descends into the arena, he anointed his limbs and girded his loins for the fight." V.