urn down the Capitol, which
they have sworn shall be his funeral pyre. Calmly now Rienzi
contemplates their fury and his unavoidable death, and solemnly
predicts that they will regret their precipitancy, as the Capitol
falls into ruins over the noble head of the Last of the Tribunes.

[Illustration: SENTA.]

THE FLYING DUTCHMAN.

After leaving Riga, where he had accepted the position of
Music Director, which he filled acceptably for some time,
Wagner went to Pillau, where he embarked on a sailing vessel
bound for London. He was accompanied by his wife and by a huge
Newfoundland dog, and during this journey learned to know
the sea, and became familiar with the sound of the sailors'
songs, the creaking of the rigging, the whistling of the wind,
and the roar and crash of the waves. This journey made a deep
impression upon his imagination. He had read Heine's version of
the legend of the Flying Dutchman, and questioned the sailors,
who told him many similar yarns. He himself subsequently said:
'I shall never forget that voyage; it lasted three weeks and a
half, and was rich in disasters. Three times we suffered from
the effects of heavy storms. The passage through the Narrows
made a wondrous impression on my fancy. The legend of the Flying
Dutchman was confirmed by the sailors, and the circumstances
gave it a distinct and characteristic colour in my mind.'

One year later, when in Paris, Wagner submitted detailed sketches
for this work to the Director of the Opera, to whom Meyerbeer
had introduced him. The sketches were accepted, and shortly
after the Director expressed a wish to purchase them. Wagner
utterly refused at first to give up his claim to the plot,
which he had secured from Heine; but, finding that he could
not obtain possession of the sketches, which had already been
given to Foucher for versification, he accepted the miserable
sum of L20, which was all that was offered in compensation.
The stolen opera was produced in Paris under the title of 'Le
Vaisseau Fantome,' in 1842, but it was never very successful,
and has been entirely eclipsed by Wagner's version. Wagner
had not, however, relinquished the idea of writing an opera
upon this theme, and he finished the poem, which Spohr has
designated as 'a little masterpiece,' as quickly as possible.
The score was written at Meudon, near Paris, and completed,
with the exception of the overture, in the short space of seven
weeks. When offered in Munich