same serious style, showing high scholarship in counterpoint, but lacking in those light and elegant graces of composition which were so popular with the French. His activity was great during this period. Between 1791 and 1807 he wrote no less than twenty-four operas, besides six symphonies; music to poems of Chénier, Arnault and Sontanes, composed in honor of the Republican fêtes at which Napoleon presided, among them the “Chant du Départ,” “Chant de Victoire” and “Chant de Retour”; choruses to the tragedy of “Timoleon”; the incidental music to “Oedipus” and the drama of “The Hussites”; four ballets, “Le Jugement de Paris” (1793), “La Dansomanie” (1800), “Le Retour d’Ulyss” (1807), and “Persée et Andromède” (1810); besides many operettas and smaller works. He had enjoyed the favor of Napoleon to such an extent that upon the death of Paisiello he was offered the position of chapelmaster. Méhul, who was a devoted friend of Cherubini, was anxious that the latter should share the office with him, but Napoleon, who was incensed at a sharp reply Cherubini had made him in Vienna, sent word back to Méhul: “What I want is a chapelmaster who will make music and not noise,” and at once nominated M. Sueux to the position. Méhul was not without his honors, however, having been appointed a member of the Institute in 1795, and of the Legion of Honor in 1802. In 1807 he achieved the crowning success of his career. “Joseph,” written on a Biblical subject, was produced and spread his fame all over France and Germany. Though not often heard in this country, it still remains a great favorite to-day among the Germans by its dignity, nobility and elevated style. It made ample compensation for his many failures and regained for him all the advantages he had lost. After 1810 he wrote but little, “Le Prince Troubadour” (1813) and “L’Oriflamme” (1814), written with Berton, Kreutzer and Paer, being his most important works. [Illustration: MÉHUL From a portrait in Clément’s “Les Musiciens Célèbres.” ]