Among the works produced at Berlin were "Nurmahal," in 1825; "Alcidor," the same year; and 1829, "Agnes von Hohenstaufen." Various other new works were given from time to time, but none achieved more than a brief hearing. Spontini's stiff-necked and arrogant will kept him in continual trouble, and the Berlin press aimed its arrows at him with incessant virulence: a war which the composer fed by his bitter and witty rejoinders, for he was an adept in the art of invective. Had he not been singularly adroit, he would have been obliged to leave his post. But he gloried in the disturbance he created, and was proof against the assaults of his numerous enemies, made so largely by his having come of the French school, then as now an all-sufficient cause of Teutonic dislike. Spontini's unbending intolerance, however, at last undermined his musical supremacy, so long held good with an iron hand; and an intrigue headed by Count Brühl, intendant of the Royal Theatre, at last obliged him to resign after a rule of a score of years. His influence on the lyric theatre of Berlin, however, had been valuable, and he had the glory of forming singers among the Prussians, who until his time had thought more of cornet-playing than of beautiful and true vocalisation. The Prussian King allowed him on his departure a pension of 16,000 francs. When Spontini returned to Paris, though he was appointed member of the Academy of Fine Arts, he was received with some coldness by the musical world. He had no little difficulty in getting a production of his operas; only the Conservatory remained faithful to him, and in their hall large audiences gathered to hear compositions to which the opera-house denied its stage. New idols attracted the public, and Spontini, though burdened with all the orders of Europe, was obliged to rest in the traditions of his earlier career. A passionate desire to see his native land before death made him leave Paris in 1850, and he went to Majolati, the town of his birth, where he died after a residence of a few months in 1851. His cradle was his tomb. III. A well-known musical critic sums up his judgment of Halévy in these words--"If in France a contemporary of Louis XIV., an admirer of Racine, could return to us, and, full of the remembrance of his earthly career under that renowned monarch, he should wish to find the nobly pathetic, the elevated inspiration, the majestic arrangements of the olden times upon a modern stage, we would not take him to the Théâtre Français, but to the Opera on the day in which one of Halévy's works was given."