Fac-simile autograph letter and musical manuscript written by Spontini.

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Spontini's operas no longer hold an important rank, and yet his name always commands respect, thanks to the beautiful bits which are still admired in "Ferdinand Cortez" and in "La Vestale." Assuredly, Spontini was no innovator such as was Gluck. He was content, without revolutionizing lyric tragedy, to give it more dramatic animation and masters as bold and as little mindful of conventionalities as were Berlioz and Wagner have professed a real admiration for Spontini.

BUST OF SPONTINI BY DANTAN.

From the Carnavalet Museum, Paris.

This artist, in spite of the changes which music underwent during his lifetime, was so thoroughly convinced of the superiority of his conceptions of the noble art, that one could not but feel a respect for him and for his best qualities. The march and the prayer in "Olympia," the scene of the revolt in "Ferdinand Cortez," best of all, the grand finale of "La Vestale," rest upon motives so expressive, and appeal so strongly to the emotions, that one cannot do otherwise than admire them. It was Spontini's misfortune never to find another poem which suited his genius so well as "La Vestale." "Olympia" bears evidence of a singular indecision and of repeated modifications, in the midst of which the composer's idea and intention vaguely float. In fact, Spontini constantly made changes in his scores, pasting alteration over alteration until almost every page resembled a patchwork or mosaic. "Ferdinand Cortez" contains some rare beauties as regards melody, expression, and dramatic effect, but these beauties are exceptional; "La Vestale" alone was a true masterpiece.