As he had an annual allowance accorded him by the State, he set out for the Eternal City and made a tour in Italy, proceeding thence to Germany to seek inspiration from the masters of symphony. The winner of the Grand Prix de Rome is expected during his sojourn abroad, to send at least one work to the Institute as a proof that he has turned his time to good account and has made due progress. Whether or not young Massenet left his light-heartedness behind him when he crossed the French frontier we cannot say; but the composition he sent from Rome was a Requiem. Massenet wrote a large work for solo voices, chorus and orchestra, entitled “Pompéia,” which in form as well as in instrumentation showed the influence of Berlioz. This indicated an inquiring and meditative mind in the young composer, who was thus feeling his way through the boldest and most modern school of music. Massenet sent a second envoy from Rome, which was his first orchestral suite. With this suite is associated an event of great importance in the musical career of the composer. Massenet tells the story himself. The composer had just returned to France, after passing in Italy and Germany the regulation period accorded the laureates of the Institute. While walking in the street, he met Pasdeloup, the founder and director of the celebrated “Popular Concerts.” Pasdeloup was one of the best men in the world, but he had the habit of treating young composers in a brusque and patronizing manner. He had only seen Massenet once, and that was during the performance of the cantata for which he was awarded the Grand Prize. As has already been stated, Massenet always looked much younger than he really was, and from his twentieth to his twenty-fourth year he had the face and air of a boy of sixteen. Pasdeloup accosted him with a frown, as though he had something disagreeable to tell him, and speaking in an offensively familiar and condescending manner, said:— “Ah, so you have returned to France. What have you been doing during your absence?” “I have been writing music, M. Pasdeloup.” “That is all very well; but it is not sufficient to write music; you must write good music. Is your music really good?” “Sir, it is not for me to pass judgment upon it.” “You have written, I believe, an orchestral suite?” “Yes sir.” “Well, but everybody writes orchestral suites. Is yours a good one? Are you satisfied with it yourself?” “Well, Monsieur Pasdeloup, I feel obliged to admit that it pleases me when I play it on the piano, but I have not yet heard it performed by an orchestra.” “Of course it pleases you. But how much music is there that pleases its composer, and yet is not worth a button. Can I see your manuscript?” “You do me too much honor, Monsieur Pasdeloup. I will send my score to you this very evening.”