Moreover, “Roméo et Juliette” marks the culminating point in the career of Gounod, who since then has not been able to equal its success. In 1870 the master went to London where he remained for several years, working and producing much. There it was that he wrote, among other things, an opera called “George Dandin,” to the prose of Molière, which has not yet been performed; it was there also that he wrote, for the Universal Exposition at London in 1871, a grand cantata entitled “Gallia,” which was performed later at Paris, where it was very favorably received. A warm welcome was also given to the music which Gounod wrote for “Jeanne d’Arc,” a drama in verse by Jules Barbier which was performed at the Gaiety on Nov. 8, 1873. This music consisted of melodramas, interludes, choruses, etc., and contained some very interesting pages. The preceding year the Ventadour theatre had brought out a drama in verse by Ernest Legouvé for which Gounod had written a score of the same kind; this drama was called “Les Deux Reines de France.” In these two works the music was merely an accessory, and the composer was only the humble servant of the poet, whom he discreetly aided and supplemented. But Gounod had not given up the idea of appearing again before the public as a true dramatic musician. Ten years had elapsed since he had given “Roméo et Juliette,” and the public were growing impatient for a new work from him, when in 1877 the _Opéra Comique_ announced the performance of “Cinq-Mars.” This was an artistic treat in which all Paris desired to participate, but which did not wholly justify the hopes which it had raised. The score of “Cinq-Mars” was certainly far from being worthless; it was written in a musical language that was superb and noble in style, but aside from a few exquisite pages, it did not have the freshness, the abundance and the generosity of inspiration which had hitherto characterized Gounod’s work. It was unequal, cold at intervals, and one no longer felt that vigor of youth, that warmth of accent which had made the triumph of the master’s great productions. In a word “Cinq-Mars” was received with sympathy but not enthusiasm, and as soon as the novelty had passed it disappeared without causing any disquietude. [Illustration: GOUNOD’S RESIDENCE ON BOULEVARD MALESHERBES IN PARIS. From a photograph made in April, 1891. ]