sterpiece produced in
after-years, "Mignon," and a somber work based on the legend of "The Man
with the Iron Mask," "Le Secret de la Reine." The melodramatic character
of this latter work seems to have been imitated from the highly accented
and artificial style of Verdi, instead of possessing the bright and airy
charm natural to Thomas. The vacancy left by Spontini's death in the
French Institute was filled by the election of M. Thomas, who was deemed
most worthy, among all the musical names offered, of taking the place of
the author of "La Vestale." He justified the taste of his co-members by
his production in 1853 of the comic opera of "La Tonelli," a work
which, though not greatly successful with "hoi polloi," was an admirable
specimen of light and graceful opera at its best. The new academician
was recompensed for the public indifference by the cordial appreciation
which connoisseurs gave this tasteful and scientific production.
Another comic opera, "Psyche," which soon appeared, though full of witty
burlesque and humor in the libretto, and marked by delicious melody in
every part, failed to please, perhaps on account of the predominance
of feminine roles, and the absence of a good tenor part. Still a third
comic opera, the "Carnaval de Venise" saw the light the same season,
which was written in large measure to show the marvelous flexibility of
Mme. Cabal's voice. Very few singers have been able to sing the role of
_Sylvia_, who warbles a violin concerto from beginning to end, under the
title of an "Ariette without Words."

Ambroise Thomas remained silent now for half a dozen years, aside from
the composition of a few charming songs. It is natural to suppose that
he was brooding over the conception of his greatest work, which was next
to see the light of day, and add one more to the great operas of the
world. Such compositions are not hastily manufactured, but grow
for years out of the travail of heart and brain, deep thought, high
imaginings, passionate sensibilities, elaborately wrought by time and
patience, till at last they are crystallized into form.

"Mignon," a comic opera in three acts, was first represented at the
Theatre Lyrique, on November 17, 1866, before one of the most brilliant
and enthusiastic audiences ever gathered in Paris. Its success was
magnificent. This was seven years after Gounod had made such a great
stride among the composers of the age, by the production of "Faust";
and it is within bo