of French singers had been performing in alternation with an Italian troupe at the _Théâtre Feydeau_, and here the opera was produced for the first time. Its success was so pronounced that during the following year no less than two hundred repetitions of the work were demanded in Paris, and its fame soon spread in every direction. In this composition the new ideal which Cherubini had cherished for so many years was happily realized. [Illustration: LUIGI CHERUBINI Reproduction of a portrait by Quenedey, Paris, 1809.] A second opera, "Koukourgi," had been nearly completed in the year 1793. But the overthrow of the monarchy on the 10th of August, 1792, and the confused condition of public affairs at this juncture, took away all prospect of its immediate production. In the mean time the composer had left Paris and was residing in Normandy with a family of his acquaintance. When he returned, in 1794, he brought with him the completed score of the opera "Elisa." It was brought out on the 13th of December, 1794, in the _Théâtre Feydeau_, but was less successful than "Lodoiska." During the next few years there was a considerable falling off in Cherubini's activity as a composer, owing to his appointment as teacher of counterpoint in the _Conservatoire de Musique_, just established, in which he became also one of the inspectors of the institution. Exact and conscientious by nature even to the point of pedantry, the musician devoted himself with unflagging energy to the duties of his office, yet occasionally returned with fresh ardor to operatic composition. In 1737 appeared "Medée," his most powerful dramatic work; in 1800, "Les Deux Journées" (Water-Carrier), the most admired and effective of all. Between the two stand the lesser operas, "L'Hôtellerie Portugaise" (1798) and "La Punition" (1799). A number of short vocal compositions belonging to this same period show that Cherubini was obliged to contribute his quota to the French Revolution. Among them are "Hymne à la Fraternité" (22d September, 1793), "Hymne du Panthéon," "Chant pour le dix Août," the ode on the 18th Fructidor and others. The most important and almost the last work of this kind was the beautiful music composed in memoriam of the noble Gen. Hoche, which was performed in public on the 1st of October, 1797.