[R] Yet Lord Mount-Edgcumbe is inconsistent enough to be an ardent admirer of Mozart's "Zauberflöte." III. Meyerbeer, a man of handsome private fortune, like Mendelssohn, made large sums by his operas, and was probably the wealthiest of the great composers. He lived a life of luxurious ease, and yet laboured with intense zeal a certain number of hours each day. A friend one day begged him to take more rest, and he answered smilingly, "If I should leave work, I should rob myself of my greatest pleasure; for I am so accustomed to work that it has become a necessity." Probably few composers have been more splendidly rewarded by contemporary fame and wealth, or been more idolised by their admirers. No less may it be said that few have been the object of more severe criticism. His youth was spent amid the severest classic influences of German music, and the spirit of romanticism and nationality, which blossomed into such beautiful and characteristic works as those composed by his friend and fellow-pupil Weber, also found in his heart an eloquent echo. But Meyerbeer resolutely disenthralled himself from what he appeared to have regarded as trammels, and followed out an ambition to be a cosmopolitan composer. In pursuit of this purpose he divested himself of that fine flavour of individuality and devotion to art for its own sake which marks the highest labours of genius. He can not be exempted from the criticism that he regarded success and the immediate plaudits of the public as the only satisfactory rewards of his art. He had but little of the lofty content which shines out through the vexed and clouded lives of such souls as Beethoven and Gluck in music, of Bacon and Milton in literature, who looked forward to immortality of fame as the best vindication of their work. A marked characteristic of the man was a secret dissatisfaction with all that he accomplished, making him restless and unhappy, and extremely sensitive to criticism. With this was united a tendency at times to oscillate to the other extreme of vain-gloriousness. An example of this was a reply to Rossini one night at the opera when they were listening to "Robert le Diable." The "Swan of Pesaro" was a warm admirer of Meyerbeer, though the latter was a formidable rival, and his works had largely replaced those of the other in popular repute. Sitting together in the same box, Rossini, in his delight at one portion of the opera, cried out in his impulsive Italian way, "If you can write anything to surpass this, I will undertake to dance upon my head." "Well, then," said Meyerbeer, "you had better soon commence practising, for I have just commenced the fourth act of 'Les Huguenots.'" Well might he make this boast, for into the fourth act of his musical setting of the terrible St. Bartholomew tragedy he put the finest inspirations of his life.