articles or essays, which were written in French (some for the _Journal des débats_ and the _Gazette musicale_ of Paris) and translated for the journals of Weimar and Leipzig--thus his two masterpieces of sympathetic criticism, the essays _Lohengrin et Tannhäuser à Weimar_ and _Harold en Italie_, found many readers and proved very effective. They are now included, together with articles on Schumann and Schubert, and the elaborate and rather high-flown essays on Chopin and _Des Bohémiens et de leur musique en Hongrie_ (the latter certainly, and the former probably, written in collaboration with Madame de Wittgenstein), in his _Gesammelte Schriften_ (6 vols., Leipzig). The compositions belonging to the period of his residence at Weimar comprise two pianoforte concertos, in E flat and in A, the "Todtentanz," the "Concerto pathétique" for two pianos, the solo sonata "An Robert Schumann," sundry "Études," fifteen "Rhapsodies Hongroises," twelve orchestral "Poèmes symphoniques," "Eine Faust Symphonie," and "Eine Symphonie zu Dante's 'Divina Commedia,'" the "13th Psalm" for tenor solo, chorus and orchestra, the choruses to Herder's dramatic scenes "Prometheus," and the "Missa solennis" known as the "Graner Fest Messe." Liszt retired to Rome in 1861, and joined the Franciscan order in 1865.[1] From 1869 onwards Abbé Liszt divided his time between Rome and Weimar, where during the summer months he received pupils--gratis as formerly--and, from 1876 up to his death at Bayreuth on the 31st of July 1886, he also taught for several months every year at the Hungarian Conservatoire of Budapest.