Massenet is one of the most estimable of men, kind and sympathetic to a fault, and possessed of great delicacy and consideration for others. He would enjoy the friendship of all men, were he less talented and consequently less liable to inspire jealousy. Of medium stature, spare but well made and of striking appearance, he has always looked younger than he really was, a happy privilege among the many others enjoyed by this favored son of genius, who is an honor and glory of the present generation of French composers. He is now a member of the Institute of France, a professor of composition at the National Conservatory of Paris and an Officer of the Legion of Honor. As we close this biographical sketch, the distinguished composer has just given the first performance of his latest opera, “Werther,” at the Grand Theatre of Vienna, where it met with brilliant success. Massenet has been kind enough to bestow on us a page of the work to place in this biography, with a specimen of his handwriting, and we tender him our warmest thanks. By the time these lines meet the eye of the reader, “Werther” will have been put upon the stage at the Opéra Comique, in Paris. Massenet’s debut in theatrical work dates from the third of April, 1866, when “La Grand’tante,” a pretty little piece full of melody and freshness, was represented at the Opéra Comique. It was he who, on the Emperor’s fête, August 12 of the following year, wrote the official cantata performed at the Opéra. After this first attempt in theatrical music, and his cantata, Massenet produced various concert works, among others, “Poèmes et Souvenirs” and “Poèmes d’Avril,” the words of which are by Armand Sylvestre; also a _bouffe_ scene entitled “L’Improvisateur.” His second Suite d’Orchestre,—a Suite Hongroise, was played at the Concerts Populaires. For the Société Classique Armingaud he composed “Introductions et Variations,” a quartet for stringed and wind instruments. In 1872 he produced his second dramatic work, “Don César de Bazan,” at the Opéra Comique; but the public did not give it a very cordial reception. It had been written under unfavorable conditions, improvised, as it were, in three weeks. The managers of the theatre proposed terms to the young composer which he was obliged to accept or decline without amendment. Massenet took his revenge for this treatment, however, in the very same year, with the delightful scenic music for the drama, “Les Errynies,” by the Comte de Lisle, which was represented at the Odéon. The next year, 1873, the composer produced one of his most exquisite scores, which shows his warm poetic talent in the most characteristic manner. This was “Marie Madeleine,” a sacred drama in three acts, which has had a world-wide success. So successful was it indeed that Massenet was encouraged to write “Eve,” a mystery in three acts. This latter, so intimately related in character to “Marie Madeleine,” has been given at