This was the starting point of Meyerbeer's active career. We shall soon see him make his appearance as composer and virtuoso at the same time (for Meyerbeer was an exceptional pianist), then promptly abandon his success as a performer in order to give himself up without reserve to composition, with the theatre for his objective point. He was eager for glory and aimed at a great reputation, feeling himself equal to any effort for reaching his end; it is this which explains the hesitations and evasions of his youth. Desirous of meeting success, withal patient, persevering and gifted with an energy which nothing could baffle, he sought it in all possible ways, but, whatever his critics may say, without ever sacrificing his convictions, and while always preserving for his art, as well as for the public, the most complete, the most absolute respect. His first works performed in Germany, written in a somewhat scholastic form, perhaps a little pedantic, did not succeed according to his desire, because Germany at that time, like Italy herself, was under the spell of Rossini's music. He accordingly betook himself to Italy, and there wrote several operas in which he forced himself to adopt the style and methods of that master. It was this that brought down upon him the reproaches of Weber, irritated to see him, a German, deny the national genius, and submit, like so many others, to the influence of the author of the _Barber of Seville_. But in spite of the criticisms of his friend, Meyerbeer, who had seen his works received with favor in Italy, continued his career in that country, where he trained his hand and prepared the evolution which was to free his genius and direct him to France, there to write his incomparable masterpieces. For Meyerbeer, like Gluck before him, gave to France alone the full measure of his worth; like Gluck, it is to France that he owes his greatest triumphs and the best part of his glory; like Gluck, he lived to see his Italian operas laid aside and well-nigh forgotten, whereas his French operas made the tour of civilized lands, and are still played on all the stages of the world. [Illustration: CARICATURE BUST OF MEYERBEER, BY DANTAN. From the Carnavalet Museum, Paris.]