"After the deplorable days in Dresden Wagner came here, and only departed again in order to escape from a warrant (_lettre de cachet_) with which the Saxon government is pursuing him. I hope that at the present moment he will have arrived safe and well in Paris, where his career of dramatic composer cannot fail to be extended, and in grand proportions. He is a man of evident genius, who must of necessity obtrude himself on the general admiration, and hold a high place in contemporary art. I regret that you have not had the opportunity of hearing his 'Tannhaeuser,' which is for me the most lyric of dramas, the most remarkable, the most harmonious, the most complete, the most original and _selbstwuerdig_ (the most worthy of his country), both in foundation and form, that Germany has produced since Weber. Belloni has, I believe, written to you on the subject of Wagner, to ask for information as to the actual state of the English opera in London. "I make no doubt that if it were possible for Wagner to obtain from the directors a tour of performances in the course of the year for a new work ('Lohengrin,' the subject of which, having reference to the Knights of the Round Table who went to search for the Holy Grail, is of the most poetic interest), he would make a great sensation and large receipts by it. As soon as he tells me the news of his arrival in Paris, allow me to induce him to write to you direct, if his plans do not change in this matter." As for Berlioz, we find Liszt in 1854 endeavouring to aid him in securing a production of "Benvenuto Cellini." Liszt writes about it to Wilhelm Fischer, chorus director at Dresden, thus: "DEAR SIR AND FRIEND:--Your letter has given me real pleasure, and I send you my warmest thanks for your artistic resolve to bring 'Cellini' to a hearing in Dresden. Berlioz has taken the score with him to Paris from Weimar, in order to make some alterations and simplifications in it. I wrote to him the day before yesterday, and expect the score with the pianoforte edition, which I will immediately send you to Dresden. Tichatschek is just made for the title role, and will make a splendid effect with it; the same with Mitterwurzer as Fieramosca, and Madame Krebs as Ascanio, a mezzo-soprano part. From your extremely effective choruses, with their thorough musicianly drilling, we may expect a force never yet attained in the great carnival scene (finale of the second act); and I am convinced that, when you have looked more closely into the score, you will be of my opinion that 'Cellini,' with the exception of the Wagner operas,--and they should never be put into comparison with one another,--is the most important, most original musical dramatic work of art which the last twenty years have to show.