On the fifth story, in a little street in Paris, not far from the _Place de la Révolution_, in the year 1790, lodged a deputy of the Constituent Assembly, an intimate and trusty friend of Viotti’s. The conformity of their opinions, the same love of the arts and of liberty, an equal admiration of the genius and works of Rousseau, had formed this connection between two men who thenceforward became inseparable. It was during the exciting times of enthusiasm and of hope, that the ardent heart of Viotti could not remain indifferent to sentiments which affected all great and generous minds. He shared them with his friend. This person solicited him strongly to comply with the desire which some of the first personages in the kingdom expressed to hear him—if only for once. Viotti at last consented, but upon one condition—namely, that the concert should be given in the modest and humble retreat of _the fifth floor! La fortune passe par tout_—‘We have,’said he, ‘long enough descended to _them_: but the times are changed; they must now mount, in order to raise themselves to _us_.’ This project was no sooner thought of, than prepared for execution. Viotti and his friend invited the most celebrated artists of the day to grace this novel festival:—Garat, whom nature had endowed with a splendid voice, and a talent of expression still more admirable—Herman, Steibelt, Rode (the pupil of Viotti). To Puppo was confided the direction of the orchestra; and to Bréval, the office of seconding Viotti. Among the great female _artistes_ of the day, were Madame Davrigny, with Mandini, Viganoni, and Morichelli, a lady as celebrated for her talents as for her charms. On the appointed day, all the friends arrived. The bust of Rousseau, encircled with garlands of flowers, was uncovered, and formed the only ornament of this novel music-saloon. It was there that Princes, notwithstanding the pride of rank; great ladies, despite the vanity of titles; pretty women, and superannuated fops, clambered for the first time up to the _fifth story_, to hear the almost celestial music of Boccherini, performed by Viotti; and, that nothing might be wanting to complete the triumph of the artist, there was not one of these persons who, after the concert, descended without regret, although it was the lot of some of them to return to sumptuous palaces, and into the midst of etiquette, luxury and splendour. Among those friends who enjoyed the envied privilege of hearing this great artist in private, was Madame Montgerault, who had a country-house in the valley of Montmorency. Some of his most brilliant ideas had their access in the society of this amiable and gifted woman, in whom he found an enthusiasm for the art equal to his own. She would frequently seat herself at the piano, and begin a Concerto _all’improvviso_; while Viotti, catching in an instant the spirit of the _motivo_, would accompany her extemporaneous effusions, and display all the magic of his skill.