of the French officials; he had no money; and he would not leave the beautiful Cecile Tourette, to whom he was affianced. One of the theatres opened during the revolutionary epoch was the Theatre Feydeau. The second opera performed was Cherubini's "Lodoiska" (1791), at which he had been laboring for a long time, and which was received throughout Europe with the greatest enthusiasm and delight, not less in Germany than in France and Italy. The stirring times aroused a new taste in music, as well as in politics and literature. The dramas of Racine and the operas of Lulli were akin. No less did the stormy genius of Schiller find its counterpart in Beethoven and Cherubini. The production of "Lodoiska" was the point of departure from which the great French school of serious opera, which has given us "Robert le Diable," "Les Huguenots," and "Faust," got its primal value and significance. Two men of genius, Gluck and Gretry, had formed the taste of the public in being faithful to the accents of nature. The idea of reconciling this taste, founded on strict truth, with the seductive charm of the Italian forms, to which the French were beginning to be sensible, suggested to Cherubini a system of lyric drama capable of satisfying both. Wagner himself even says, in his "Tendencies and Theories," speaking of Cherubini and his great co-laborers Mehul and Spontini: "It would be difficult to answer them, if they now perchance came among us and asked in what respect we had improved on their mode of musical procedure." "Lodoiska," which cast the old Italian operas into permanent oblivion, and laid the foundation of the modern French dramatic school in music, has a libretto similar to that of "Fidelio" and Gretry's "Coeur de Lion" combined, and was taken from a romance of Faiblas by Fillette Loraux. The critics found only one objection: the music was all so beautiful that no breathing time was granted the listener. In one year the opera was performed two hundred times, and at short intervals two hundred more representations took place. The Revolution culminated in the crisis of 1793, which sent the King to the scaffold. Cherubini found a retreat at La Chartreuse, near Rouen, the country seat of his friend, the architect Louis. Here he lived in tranquillity, and composed several minor pieces and a three-act opera, never produced, but afterward worked over into "Ali Baba" and "Faniska." In his Norman retreat Cherubini heard of the death of his father, and while suffering under this infliction, just before his return to Paris in 1794, he composed the opera of "Elisa." This work wras received with much favor at the Feydeau theatre, though it did not arouse the admiration called out by "Lodoiska."