Täglichsbeck, 173. Tajan-Rogé, 207. Tamburini, 161. Talma, 21. Tannhäuser, 236. Tasso, 68. _Tempest_, 76-7, 95. _Te Deum_, 228. Thalberg, 160, 183. Thénard, 17. Thomas, 162. Tilmant, 191. Topenheim, Baron von, 170. _Trojans, The_, 224, 232-3, 237, 241-5, 267, 269, 274, 276. Troupenas, 132. Vaillant, Marshal, 251-2. Valentino, 22-3, 43-4. Vanderheufel-Duprez, Madame, 249. Vernet, Horace, 98, 101-2, 106, 113, 118, 124, 127. Vernet, Mdlle., 117, 125-6. Viardot, Madame, 237, 249. Vieuxtemps, 205. Vigny, de, 141-2. Vogt, 18. Volney, de, 67. Wagner, 182, 228-9, 236-7. Wailly, de, 142, 152, 219. Walewski, Count, 237. _Walpurgis Nacht_, 179, 180. _Waverley_, 37, 54. Weber, 41, 46-8, 60, 62, 136. Wielhorski, Count, 203. Wieniawski, 294. _World’s Last Day_, 118. X., de, 144-8, 151. Zinkeisen, 184. FOOTNOTES: [A] From original drawings by J. Y. DAWBARN. [1] Berlioz’ “burnt” does not necessarily mean that they were put in the fire, but simply that they were relegated to a portfolio limbo, whence they sometimes emerged to be used again with fine results. [2] Gluck and Piccini were of entirely opposite schools. [3] Chopin and Liszt once spent a whole night hunting for him in the fields. [4] Of him more later on. [5] Between these two letters Berlioz had a meeting with Miss Smithson, who told him frankly that his pretensions were impossible. [6] _Le Correspondant._ [7] Moore’s “Irish Melodies.” [8] In his letters he says that Mademoiselle Moke was present with her mother.--ED. [9] A play upon his red hair. [10] Mendelssohn’s letter of 29th March 1831 gives a very severe description of Berlioz, under the initial “Y,” showing how utterly out of sympathy the two young men were, and how incapable at that time Mendelssohn was of reciprocating Berlioz’s whole-hearted appreciation. Later on, when they met in Leipzig, the situation improved. [11] It was Diano Marina, near Oneglia. [12] Gave popular concerts of dance-music and introduced the galop. [13] It was really written by Léon de Wailly: Alfred de Vigny merely revised it. [14] In 1848. [15] Liszt afterwards mounted it successfully at Weimar. [16] Since writing this, I conducted the first four parts of it in London and never did I have a more brilliant reception, nor was I better received by the press. (In a letter to Ferrand he says: “I am quite pleased with my success. _Romeo and Juliet_ made people cry. I cannot go into the details of my three concerts, but I may say that the new score made some notable conversions. An Englishman bought my baton from Schlesinger’s servant for 150 francs. The press has treated me splendidly.”) [17] Mademoiselle Recio. [18] I had not then heard the _Midsummer Night’s Dream_. [19] Composed in 1834. [20] Ferrand was in Sardinia. [21] My intimate friend, now director of the Marseilles Conservatoire.