As I was working on _Griseldis_, a scholar who was entirely wrapped up in the literature of the Middle Ages and was interested in a subject on that period, entrusted me with a work which he had written on that time, a very labored work of which I was not able to make much use. I had shown it to Gérôme, whose mind was curious about everything, and as Gérôme, the author and I were together, our great painter whose remarks were always so apropos, ready and amusing said to the author who was waiting for his opinion, "How pleasantly I fell asleep reading your book yesterday." And the author bowed entirely satisfied. CHAPTER XXIV FROM CHÉRUBIN TO THÉRÈSE I happened to see played at the Théâtre-Français three entirely novel acts which interested me very much. It was _Le Chérubin_ by Francis de Croisset. Two days later I was at the author's house and asked him for the work. His talent, which was so marked then, has never ceased highly to confirm itself. I remember that it was a rainy day, as we were coming back by the Champs Élysées from the glorious ceremony at the unveiling of the statue of Alphonse Daudet, that we settled the terms of our agreement. Title, subject, action, everything in that delightful _Chérubin_ charmed me. I wrote the music at Égreville. His Serene Highness the Prince of Monaco heard that _Le Chérubin_ was set to music, and he remembered _Le Jongleur de Notre Dame_ which he had welcomed so splendidly and which I had respectfully dedicated to him. He had M. Raoul Gunsbourg propose to me that the first performance be given at Monte Carlo. It is not difficult to imagine with what enthusiasm I accepted this offer. Mme. Massenet and I went again to that ideal country in that fairy-like palace of which we have retained such imperishable memories. _Le Chérubin_ was created by Mary Garden, the tender Nina by Marguerite Carré, the bewitching Ensoleillad by Cavalieri, and the part of the philosopher was filled by Maurice Renaud. It was a really delightful interpretation. The evening was much drawn out by the applause and the constant encores which the audience demanded of the artists. It literally held them in an atmosphere of the wildest enthusiasm. Our stay at the palace was one continual series of inexpressible delights which we were to experience again as the guests of that high-souled prince of science. Henri Cain, who had been my collaborator with Francis de Croisset in _Le Chérubin_, amused me between times by making me write the music for a pretty, picturesque ballet in one act, _Cigale_. The Opéra-Comique gave it February 4, 1904. The bewitching, talented Mlle. Chasle was our Cigale, and Messmaecker, of the Opéra-Comique, clowned the rôle of Mme. Fourmi, Rentière, in a mirth provoking manner!