Many accounts have come down to us of the talent of James I. of Scotland for music, who is said to have “excelled all mankind in the art, both vocal and instrumental.” He has been spoken of as the father of Scottish music, and we are told that “he not only composed many sacred pieces of vocal music, but also of himself invented a new kind of music, plaintive and melancholy, different from all others, which, it is said, long made his name famous.” Turning to France, we find that many of its rulers were musically inclined. Going back to an early period, it is said that Charlemagne invited singers and musicians to come from Italy and improve the performance of divine worship, and two song schools were established, one at Gale, another at Metz. According to Charlemagne, “his Franks had not much aptitude for music, their singing was like the howling of wild beasts or the noise made by the squeaking, groaning wheels of a luggage waggon on a stony road.” An interesting story is told of Josquin, an eminent composer, who was appointed master of the chapel of Louis XII., by whom he was promised a benefice. But the King forgot the matter, and from the shortness of his Majesty’s memory Josquin suffered great inconvenience. By a clever expedient he contrived publicly to remind Louis of his promise without giving offence. Being commanded to compose a motet for the Chapel Royal, he chose part of the 119th Psalm, beginning with the words, “Oh, think of thy servant as concerning thy word,” “which he set in so supplicating and exquisite a manner that it was universally admired, particularly by the King, who was not only charmed with the music, but felt the force of the words so effectually that he soon after granted his petition by conferring on him the promised appointment.” Marie Antoinette had a natural taste and extreme fondness for music. She much valued Grétry’s music--a great deal of the poetry set to his music being by Marmontel. The day after the first performance of “Zemira and Azor,” Marmontel and Grétry were presented to the Queen as she was passing through the Gallery of Fontainbleau to go to mass. The Queen congratulated Grétry on the success of the new opera, and told him that she had dreamed of the enchanting effect of the trio by Zemira’s father and sisters behind the magic mirror. In a transport of joy, Grétry took Marmontel in his arms. “Ah, my friend,” cried he, “excellent music may be made of this.” “And execrable words,” coolly added Marmontel, to whom her Majesty had not addressed a single compliment.[167] Marie Antoinette was the great patroness of the celebrated Viotti, and, when he began to perform his concerts at her private musical parties, she would go round the music saloon and say, “Ladies and gentlemen, I request you will be silent, and very attentive, and not enter into conversation while Mr. Viotti is playing, for it interrupts him in the execution of his fine performance.”