Among the better composers of the later French school was Felix Marie Victor Masse (1822-1884), who experienced the usual fortunes of the better class of French composers, having taken the prize of Rome in 1844 and produced his first opera, "_La Chanteuse Voilee_," in 1850, which was followed by his "_Galathea_" in 1852 and the "Marriage of Jeanette" in 1853. Encouraged by these successes he produced a large number of operas in Italy, of which the best were "_La Reine Topaze_" (1856) and "_Les Saisons_" (1855). In 1860 he became chorus master at the Academy of Music, and in 1866 professor of composition at the Conservatory. In 1872 he was elected to the Institute as successor of Auber. In addition to the works already mentioned he produced "Paul and Virginia" (1866), and several others, besides a number of songs. His last opera, "_Le Mort de Cleopatre_," was written during his long sickness, and on the whole was not a success. Another pleasing French composer is Jules Emile Frederic Massenet (1842- ), who took the prize of Rome in 1863, and in 1867 produced his first opera, "_La Grande Tante_." In addition to this he composed a number of operas, "_Le Roi de Lahore_" (1877), "_Marie Madeleine_" (1873), an oratorio, and "Eve" in 1875. He has also written a number of orchestral suites which have been very popular in all countries. His latest work, "_Le Mage_," was produced at the Grand Opera, Paris, March, 1891. One of the most brilliant and versatile of the French musicians of this generation is M. Camille Saint-Saens (1835- ), a virtuoso upon the piano and organ, and an orchestral tone-poet of very rare quality. Educated in the Conservatory, he composed his first symphony when he was sixteen, and was organist of the Church of St. Marri at the age of eighteen. In 1858 he became organist at the Madeleine. He has produced a number of operas, of which "_Le Timbre d'Argent_" (1887), "Samson and Delilah" (1877), and "_Etienne Marcel_" (1879), "Henry VIII" (1883) and "_Ascanio_," produced in 1890 at the Grand Opera. In addition to these, Saint-Saens has produced a large number of orchestral pieces, including "_Le Mouet d'Omphale_," "_Le Dance Macabre_," and other symphonic poems of the programme character. He has also written several oratorios, of which "The Deluge" is the most important, and a large amount of chamber and pianoforte music. He is a brilliant writer about music, and is favorably known in Germany and all the rest of Europe as a virtuoso upon the piano and organ. His second concerto for piano is one of the best virtuoso pieces for that instrument. In his "_Melodie et Harmonie_," a collection of newspaper essays, he discusses many interesting questions. His fame with posterity is more likely to rest upon his orchestral pieces, which are extremely clever and interesting, than upon his operas. Personally he is said to be very witty and entertaining. He has been a member of the Institute since 1874.