ermany to-day are his colossal operas heard. The
Italian Paganini showed a generous interest in his struggles. Russia and
Austria too admired him, while his compatriots hissed. His career was
one of endless work, disappointments, brief successes, battles, hopes,
and despairs. Personally, too, it was full of the happiness and
unhappiness of the artistic temperament.

It was between the two periods of his Conservatory life that he endured
his chief sentimental misfortune,--his falling in love with and finally
marrying Henrietta Smithson. Miss Smithson was a young English actress
playing Shakespearean roles in France with a passing success. She was
exquisitely lovely--Delaroche has painted her spirituelle beauty in his
'Ophelia.' The marriage was the typically unfortunate artist-match; and
she became a paralytic invalid for years. After her death, tours in
Germany and elsewhere, new works, new troubles, enthusiasms, and
disappointments filled up the remainder of the composer's days. He
returned to his beloved Dauphine, war-worn and almost as one who has
outlived life. In his provincial retreat he composed the huge operatic
duology 'The Trojans at Carthage,' and 'The Taking of Troy,' turning
once more to Virgil, his early literary love. Neither of them is often
heard now, any more than his amazing 'Benvenuto Cellini.' Their author
died in Dauphine in 1869, weary, disenchanted, but conscious that he
would be greater in the eyes of a coming generation than ever he had
been during his harassed life.

Berlioz's literary remains are valuable as criticisms, and their
personal matter is of brisk and varied charm. His intense feeling for
Shakespeare influenced his whole aesthetic life. He was extremely well
read. His most unchecked tendency to romanticism was balanced by a fine
feeling for the classics. He loved the greater Greek and Latin writers.
His Autobiography is a perfect picture of himself emotionally, and
exhibits his wide aesthetic nature. His Letters are equally faithful as
portraiture. He possessed a distinctively literary style. He tells us
how he fell in love--twice, thrice; records the disgraceful cabals and
intrigues against his professional success, and explains how a landscape
affected his nerves. He is excellent reading, apparently without taking
much pains to be so. Vivacity, wit, sincerity, are salient traits. In
his volume of musical essays entitled 'A Travers Chants' (an
untranslatable title which may be par