To return to his operatic compositions, there were some others during this gloomy period of frequent failures which achieved success, among them, “Vendome en Espagne” (1823), which he wrote with Auber, “Le Roi Réné” composed for the fête of Louis XVIII., “Marie” (1826) and “L’Illusion” (1829), which enhanced his reputation and paved the way for the two works which were to be the crowning successes of his life. “Zampa” was produced May 3, 1831, and aroused something like a furor in Paris, though its most enduring success has been made in Germany. It still keeps the boards upon the continent, and though rarely heard in this country, its overture remains a conspicuous feature of concert programmes. With “Zampa” Hérold’s success was firmly grounded, though the work bears unmistakable indications of German influence and is written in the broad, serious style characteristic of the German composers. It is for this reason that it has been more favorably received in Germany than in France, though its merit was fully recognized by Hérold’s own countrymen. It restored the waning fortunes of the Opera Comique, saved it from ruin, and made Hérold a popular favorite. At this time he was chorus master, but a few weeks after his success he was dismissed by the new director upon the excuse that it was necessary to retrench. He had only a verbal contract, but he appealed to the courts, and his appeal was sustained after nine months of litigation, the courts holding that there was an implied contract. He accordingly was reinstated, but soon the fortunes of the Opera were involved in another financial crisis. The director sought to retrieve them with a sensation and in 1831 brought out the musical play of the “Marquise de Brinvilliers.” Scribe and Castil-Blaze wrote the text together, and nine composers, whose names have been given elsewhere, arranged the musical setting. The combined efforts of the collaborators, however, failed to produce anything more than a nine days’ wonder, and the doors of the Opera were reluctantly closed. Six months later a new location was chosen and the opera once more made its appeal to the public with a new work by Hérold, “La Médecine sans Médecin.” Its success fell far short of that which “Zampa” had enjoyed, but it served the purpose of keeping the Opera on its feet until Hérold had finished another work which was destined to complete his fame and to restore the Opera Comique to its old prestige. It was, alas, his swan song. “Le Pré aux Clercs” was performed Dec. 15, 1832. It had a success of enthusiasm. Unlike “Zampa,” it was a purely national opera, with an historical theme treated with genuine French grace and spirit, and abounding in characteristic French music which commended it to the Parisians. Its reception was attended with a remarkable display of excitement and popular acclamations. The audience rose to a man and called for the composer but he was unable to make an appearance. The fatigues of