On its first representation, on the 13th of March 1797, one of the journals, after praising its beauty, professed to discover imitations of Méhul's manner in it. The latter composer, in an indignant rejoinder, proclaimed himself and all others as overshadowed by Cherubini's genius: a singular example of artistic humility and justice. Three years after its performance in Paris, it was given at Berlin and Vienna, and stamped by the Germans as one of the world's great musical masterpieces. This work was a favourite one with Schubert, Beethoven, and Weber, and there have been few great composers who have not put on record their admiration of it. As great, however, as "Médée" is ranked, "Les Deux Journées,"[P] produced in 1800, is the opera on which Cherubini's fame as a dramatic composer chiefly rests. Three hundred consecutive performances did not satisfy Paris; and at Berlin and Frankfort, as well as in Italy, it was hailed with acclamation. Bouilly was the author of the opera-story, suggested by the generous action of a water-carrier towards a magistrate who was related to the author. The story is so interesting, so admirably written, that Goethe and Mendelssohn considered it the true model for a comic opera. The musical composition, too, is nearly faultless in form and replete with beauties. In this opera Cherubini anticipated the reforms of Wagner, for he dispensed with the old system which made the drama a web of beautiful melodies, and established his musical effects for the most part by the vigour and charm of the choruses and concerted pieces. It has been accepted as a model work by composers, and Beethoven was in the habit of keeping it by him on his writing-table for constant study and reference.