most simplicity and
sweetness, breathing something like a sacred calm, and turning the
thoughts away from all this human turmoil into conditions of peace and
rest. It has not only become one of the most favorite numbers in the
concert repertory, but is ground out from every barrel-organ the world
over, and yet it has retained its hold upon popular admiration.

At its close the turmoil begins again and the action hastens to the
tragic denouement. The people come out of the church singing a glad
chorus which is followed by a drinking song ("Viva il vino"), sung by
Turridu, and joined in by Lola and chorus. In the midst of the
hilarity Alfio appears. Turridu invites him to join them and drink;
but he refuses, and the quarrel begins. Lola and the frightened women
withdraw. Turridu bites Alfio's right ear,--a Sicilian form of
challenge. The scene closes with the death of the former at Alfio's
hands, and Santuzza is avenged; but the fickle Lola has gone her way
bent upon other conquests.

MEYERBEER.

Giacomo Meyerbeer, the eldest son of Herz Beer, was born in Berlin,
Sept. 5, 1794. He was named Jacob Meyer Beer, but afterwards called
himself Giacomo Meyerbeer. His early studies were pursued with the
pianist Lanska, and Bernard Anselm Weber, chief of the Berlin
orchestra. At fifteen he became the pupil of Vogler in Darmstadt, with
whom he displayed such talent in composition that he was named
Composer to the Court by the Grand Duke. At eighteen his first
dramatic work, "The Daughter of Jephtha," was performed at Munich. He
then began the world for himself, and made his debut in Vienna as a
pianist with great success. His first opera, "The Two Caliphs," met
with complete failure, as it was not written in the Italian form. He
at once transformed his style and brought out "Romilda e Costanza," a
serio-comic opera, with great success, at Padua. In 1820, "Emma di
Resburgo" appeared at Venice, and from this period his star was in the
ascendant. "The Gate of Brandeburg," "Margharita d' Anjou," "Esule di
Granata," and "Almanzar" followed in quick succession, and were well
received, though with nothing like the furor which "Il Crociato in
Egitto" created in Venice in 1824. His next great work, "Robert le
Diable," was produced in Paris, Nov. 21, 1831, the unparalleled
success of which carried its fame to every part of the civilized
world. In 1836 "The Huguenots," unquestionably his masterpiece, was
brought out, and it still ho