After the _Huguenots_ three years passed during which France received no new work from Meyerbeer. Meanwhile people had much to say about the _Prophète_; but Meyerbeer, exceptionally anxious about the good execution of his works, not finding in the _personnel_ of the _Opéra_ at that time the artists of whom he had dreamed for this work, waited patiently. Moreover, the office of capellmeister of the king of Prussia, to which he had been appointed, called him often to Berlin during this period. It was in this capacity that he composed a grand Italian cantata, _la Festa nella corte di Ferrara_, which was performed at court in 1843, and a German opera in three acts, _A Camp in Silesia_, composed for the inauguration of the new royal theatre of Berlin (Dec. 7, 1844) and which was rather coldly received. It was at this time also that he published, with French words, a great number of admirable songs, of which a collection in four volumes has recently been formed in Paris. It was during this period that he composed the beautiful music for his brother's drama, _Struensée_, and his first March (Fackeltanz), performed for the marriage of the princess Wilhelmina of Prussia with the king of Bavaria. Finally, on April 16, 1849, the _Prophète_, so long expected, made its appearance at the Paris _Opéra_, interpreted by Roger (Jean de Leyde), Levasseur (Jacharie), Mme. Viardot (Fidès) and Mme. Castellan (Bertha). _Le Pardon de Plöermel_ was the last of Meyerbeer's works brought out before his death, which occurred at Paris, May 2, 1864. For nearly twenty years _l'Africaine_ had been under consideration, but the master waited for this work as he had done for _le Prophète_, until the _personnel_ of the _Opéra_ could offer him such artists as he deemed necessary for its proper execution. Meanwhile, he had drawn up instructions relative to this _Africaine_, which he wished to have carried out after his death. Among other things he requested that the rôle of Sélika be confided to Mme. Marie Lasse, and that of Vasco to M. Naudin, whose voice he had admired at the _Théâtre Italien_. The direction of the _Opéra_ took pains to conform to this posthumous desire and _l'Africaine_ appeared at this theatre, under the conditions specified by the composer, April 28, 1865. While fully taking into account the great value of certain episodes of this work, it will surely be no violation to Meyerbeer's memory to say that _l'Africaine_ has added nothing to his glory. Even without _l'Africaine_ he would still have remained one of the most magnificent geniuses that has illumined the art of the nineteenth century. [Illustration: TOMB OF THE MEYERBEER FAMILY. From large lithograph Memorial published at the time of Meyerbeer's death.] * * * * *