Alike to "Faust," "Romeo" has also been transferred to the _répertoire_ of the Grand Opéra. It is in these two works that the essence of the master's genius would appear to be concentrated. Gounod having been successful in his treatment of works by Molière, Goethe, and Shakespeare, now turned his attention to Corneille, whose "Polyeucte" exercised an irresistible fascination over his mind. Several events, however, were destined to transpire before this work was to be brought to a termination. The Franco-German war broke out, and Gounod, who was past the age to serve his country in a military capacity, took refuge in England. During his sojourn in London he composed the cantata "Gallia," inspired by the troubles that had befallen his native land. This work was written for the inauguration of the Royal Albert Hall, where it was performed for the first time on May 1st, 1871. On this occasion four composers were asked to contribute to the solemnity. Sir Arthur Sullivan represented England, Gounod France, Pinsuti Italy, and Ferdinand Hiller Germany. Gounod entitled his work a "biblical elegy." It met with success in London, and was subsequently performed in Paris. The best portion of "Gallia" is the effective _finale_ for soprano and chorus, "Jerusalem." Gounod was at that time working at his "Polyeucte," and was also engaged upon the "Redemption." Mrs. Weldon was to take the principal part in the first of these works. Whilst in London Gounod composed a great deal. In addition to "Gallia" he wrote several choral works and a quantity of songs. Amongst these last may be mentioned such popular favourites as "Maid of Athens," "Oh that we two were maying," "There is a green hill far away," "The Worker," "The fountain mingles with the river," and the fascinating duet entitled, "Barcarolle." The "Funeral march of a Marionette" also dates from this epoch, as does the charming "Recueil" of songs entitled "Biondina," instinct with southern spirit. It may be amusing to peruse his opinion of English musical feeling, as recorded by Mdlle. de Bovet: "When one sees Englishmen attentively follow the execution of a score, as grave and solemn as if they were fulfilling an austere duty; then suddenly, as if a spring had been touched, raise their heads and with beaming faces exclaim, 'Oh, how nice! very beautiful indeed!' and again bury themselves in their book as gravely and solemnly as before, one cannot help thinking that they are would-be rather than real musicians. They are actuated by British pride, because their artistic taste must be superior to the taste of other nations, just as their navy is more powerful and their cotton and flannel of better quality."