with great splendor. These were,
_Nourmahal_ (founded on 'Lalla Rookh), _Alcidor_, and _Agnes von
Hohenstauffen_. None of them, however, could be called successful. In
Berlin, Spontini continued to reside as first Chapel-master till the
death of the late King,--and there his professional career may be said
to have ended. A life in some respects more outwardly prosperous cannot
be conceived. Spontini was rich,--girt with ribbons and hung with
orders;--but it may be doubted whether ever official grew old in the
midst of such an atmosphere of dislike as surrounded the composer of _La
Vestale_ at Berlin. He was mercilessly attacked in print,--in private
spoken of by rival musicians with an active hatred amounting to
malignity. There was hardly a baseness of intrigue with which report did
not credit him. His music, even, was avoided in his own theatre; and it
was an article in the contract of more than one _prima donna_, that she
would not sing in Spontini's operas. Of later years, he rarely was seen
in the orchestra save to direct his own works. In this capacity he
showed a vivacity, a precision, and an energy almost incomparable. As a
man, he had the courtliest of courtly manners; the air, too, of one well
satisfied with his own personal appearance. He conversed chiefly
concerning himself and his works, apparently taking little or no
interest in other transactions of art. This might account for his ill
odor in a capital where misconstructions and jealous evil-speaking have
too often been the lot of the simplest, the most learned, and the least
self-asserting of artists. The limited nature of his sympathies may be
felt in Spontini's music. With all its spirit, this is generally
dry--awkward without the excuse of learned pedantry--sometimes grand,
very seldom tender--the rhythm more decided than the melody, which is
often frivolous, often flat, rarely vocal. He has been accused of
shallowness in the orchestral treatment of his operas,--in which noise
is often accumulated to conceal want of resource. But allowing all these
objections to be generally true to the utmost, the _finale_ to the
second act of _La Vestale_ still remains--and will remain--a
master-piece of declamation, spirit, and stage climax. The rest of _La
Vestale_ is carefully wrought,--but in power, and brightness, and
passion, by many a degree inferior to that temple-scene. For its sake,
the name of Spontini will not be forgotten, unsatisfactory as was his
caree