In running over the list of his compositions it is easy to see that from this time on he produced less and less of the dramatic order. In the year 1809 appeared the charming one-act Italian opera, "Pimmalione," which was performed at the Tuileries in the presence of Napoleon and the art-loving Empress Josephine. The name of the composer had not been communicated to the Emperor, who was profoundly stirred by the music; but when he learned that it was written by Cherubini, he manifested more astonishment than pleasure. Notwithstanding this, he sent the musician a handsome sum of money, and commissioned him to compose a festal ode on the occasion of his marriage to the Archduchess Marie Louise of Austria. Another one-act opera, with a French text, "Le Crescendo," was brought out in the Feydeau Theatre on the 1st of September, 1810. In 1813 there followed a work for the Grand Opera, where Cherubini had first presented his "Démophon" and "Anacréon" twenty-five years before. The new opera, however, was not well received, and a period of twenty years now elapsed before the production of another. In 1833 a remodelling of the old "Koukourgi," under the title of "Ali Baba," was given to the public. It deserves our admiration as the work of a septuagenarian, but is wholly ineffective from an artistic point of view. The last period in the long life of the master is that of his great sacred compositions, and begins in the year 1808. No less than eight masses, two requiems, and a very large number of minor pieces make up the rich array. The great D minor mass appeared in 1811, the C major in 1816, the coronation masses in G major and A major in 1819 and 1825. The celebrated C minor requiem was composed in 1816, and rendered for the first time in the Church of St. Denis on the anniversary of the death of Louis XVI. The second requiem attracts special attention for the following reasons: It is written in D minor, for male voices only. Cherubini wrote it in 1836, being then seventy-six years old. On the occasion of the funeral of Boieldieu in 1834, the C minor requiem had been sung; but as female voices were here called into requisition, the Archbishop of Paris requested that the work should not be used again for a similar purpose, the singing of women being prohibited by the church. It was Cherubini's wish that no controversy on this point should arise at the time of his own decease, and he therefore wrote a work in which alto and soprano voices were entirely omitted. In this connection another composition should be mentioned, which does not strictly belong to the sacred music, but is more nearly related to the eleven secular cantatas in Italian style produced by Cherubini. It was, however, employed for a funeral service, and is the well-known "Chant pour la mort de Joseph Haydn," written for three solo voices and orchestra. This work is full of deep feeling and of wonderful beauties of tone. One of its leading