rehearsals and the tumultuous events of the evening were too much for his already enfeebled condition. He was taken home, but had hardly arrived there when he had a dangerous hemorrhage. He lived but four weeks after his great success, dying of consumption Jan. 19, 1833, the same disease which had proved fatal in his father’s case. His funeral took place on the 21st. He was buried at Père la Chaise, near Méhul, and addresses were made at the grave by Fétis and Saint-George. He left a widow, Adèle Elise Rollet-Hérold, to whom he was married in 1827, and three children, Ferdinand, an attorney, Adèle, and Eugenie who also was a musician. “Le Pré aux Clercs” was not his last work in the list of performances, for after his death the overture and four numbers of another opera, “Ludovic,” were found among his papers. The work was completed and produced with success by Halévy. His biographer, M. Jouvin, says of it: “In what proportion did this posthumous child of Hérold belong to its father and its godfather? I know not. I have not the opera of ‘Ludovic’ under my eye. I have not been admitted into the secret of the work done by the musician who two years later wrote ‘La Juive’ and ‘L’Eclair’ without taking breath. I only charge myself to report, without guaranteeing, a tradition which attributes to Hérold the overture and four pieces in the first act of this lyric drama.” [Illustration: HÉROLD’S TOMB IN PÈRE LA CHAISE, PARIS. ] The peculiarities of Hérold’s style which distinguished him from the other operatic composers of his period were the freshness and originality of his ideas, the grace and refinement of his conceptions, which are displayed to special advantage in his ballets, the variety of his melodies, and the highly emotional and imaginative character of the man himself. He was the legitimate successor of Boieldieu and reflected his romantic moods, and it will be remembered coöperated with him in his first work after his return to Paris from Italy. With these purely subjective qualities he combined an instrumentation that is always rich in color and dramatic in effect, an intimate knowledge of the stage and its resources, and a superior degree of literary taste and culture, though the latter distinction did not always save him from accepting commonplace and sometimes worthless libretti. The reason for this is probably to be found in his prodigious activity, which induced him to accept such poor books in the hope that his music would excuse them, rather than spend his time in idleness. Though possessed of undoubted originality if not of actual inspiration, he was greatly influenced by the works of the composers, though in no sense can he be considered a copyist. During his Italian visit he was much impressed with Paisiello. In a letter to his mother about the year 1815 he says: “I have fallen into one error here—that of neglecting M. Paisiello.... I can say that I study much the music of Paisiello and find it delicious.” The Italian