Méhul made his parting bow to the public with the opera of “La Journée aux Aventures,” which was produced in 1817 with considerable success. The same year closed his earthly labors. He had been in ill health for some time, and shortly after the production of his last opera he went, upon the advice of friends, to the south of France, where he had a residence, hoping thereby to regain his strength. His ailment, consumption, however, had so weakened his constitution that the change was fruitless. Moreover, he was homesick for Paris. In writing to a friend he mournfully says: “I have broken up all my habits. I am deprived of all my old friends, I am alone at the end of the world, surrounded by people whose language I can scarcely understand—and all this sacrifice to obtain a little more sun. The air which best agrees with me is that which I breathe among you.” He returned to Paris, warmly welcomed by his friends and the public. He made one, and only one more visit to the opera. He was soon stricken down in his last illness and died Oct. 18, 1817, in his fifty-fourth year, universally lamented both in France and Germany, for, like his pupil Hérold, he was as much of a favorite in the latter country as in the former. In fact neither of these composers was appreciated to the full extent of his ability in France, at least until after death, a neglect which was not confined to them, however: Berlioz shared the same fate. More than one French composer indeed has made his greatest success in Germany. Tributes of respect and admiration were shown to his memory in both countries. His funeral was attended by a great concourse of persons, and the pupils of the Conservatory with which he had been identified so many years, covered his grave with flowers. On the day of his interment memorial services were held in many places in Germany and France at which public addresses were made. Méhul married a daughter of Dr. Gastoldi, but having no children adopted his nephew, M. Daussoigne, a young musician of excellent promise. His posthumous opera, “Valentine de Milan,” was finished by the nephew and was performed in 1822, upon which occasion the composer’s bust was publicly crowned. The popular success, indeed, which he achieved as a composer, was unquestionably expedited by his high character as a man. His uprightness and natural tenderness had commended him to all the pupils of the Conservatory, and his strong affections did the same service for him with his friends. His generosity and benevolence were proverbial. The utter absence of jealousy in his disposition especially commended him to musicians. He had a particular abhorrence of intrigue and of those small rivalries which were abundant at that time, and which sometimes developed into great wars, as has already been hinted at in the reference to the famous struggle between the factions of Gluck and Piccini, which not only enrolled musicians,