All these directions were complied with; while the funeral arrangements--in Paris at least--were very theatrical and "Frenchy," though at Berlin they were conducted with greater dignity. The line of procession, led by a band playing extracts from Meyerbeer's music, passed the Opera Comique and the Grand Opera, both of which were dressed in black. Auber was among the pall-bearers, and Gounod among the mourners. Behind the coffin were carried on a cushion the various decorations with which sovereigns and societies had decked the composer. At the Northern Railway station, (also draped in mourning,) orations were delivered, _and applauded_ by the listeners, and sometimes interrupted by the impatient steam-whistles of departing trains. An incident of the funeral was the decoration of the _catafalque_ with a silver cross: Meyerbeer was a Jew, and the inconsistency was not noticed till there was barely time to tear away the Christian emblem before the body of the Israelite composer was laid in its place. That same night, at the Grand Opera, the "Huguenots" was performed, and never did Sax, Gueymard, Faure, and Beisal sing or act with greater effect. After the fourth act the curtain was raised; and while the orchestra played the Coronation March from the "Prophete," the bust of the composer was crowned with laurel by the performers. The family, in accordance with the curious European custom, sent around to their friends a circular worded as follows:-- "Sir,--Madame Meyerbeer (widow); Mlles. Cecile and Cornelie Meyerbeer; the Baron and Baroness De Korf, and Son; M. and Madame Georges Beer; M. and Madame Jules Beer and Children; M. and Madame Alexandre Oppenheim; M. and Madame S. de Haber, Madlle. Laure de Haber; and Madlle. Anna Eberty, have the honor to announce to you the sad loss they have just suffered by the death of M. Giacomo Meyerbeer, their husband, father, father-in-law, grandfather, uncle, and great-uncle, who died at Paris on the 2nd May, 1864, aged seventy-two."