to the rules laid down in the sixteenth century, but embraced with his comprehensive glance the whole domain of modern music. Although the greater part of Cherubini's life was passed in straitened circumstances, and his worth as an artist received at most only a partial recognition, yet in his old age the world delighted to do him honor, and his authority was undisputed. In the year 1795 the musician married Cécile Tourette, the daughter of a member of the old royal chapel, who bore him a son and two daughters. To this earnest, industrious man the highest pleasures that life could offer were those of his happy home, where, in his later years free from care, he gladly dispensed an unpretentious hospitality such as had been impossible when he was obliged to struggle for the necessities of existence. Ferdinand Hiller, who resided in Paris between the years of 1828 and 1835, paid frequent visits to Cherubini, and was once conducted by the artist's oldest daughter to the dwelling occupied by the family in 1800. A single apartment then served both as the musician's study and the children's sitting-room. Here he sat at a little table by the window and composed the opera "Les Deux Journées," while the children played in the background. A line of demarcation was drawn through the middle of the room; beyond this the children could amuse themselves as noisily as they pleased, but they were forbidden to cross the line. So long as this regulation was obeyed, and no one came too near him, he did not feel disturbed, and here we see revealed the mental constitution of the man. [Illustration: CHERUBINI'S TOMB IN PÈRE LACHAISE, PARIS. From a photograph made specially for this work.]