a Jew, but
his parents were liberal enough to send him to the fireside of a
Christian, and the boy became an inmate of Vogler's house. For two
years he studied faithfully, and by that time was initiated, as he had
never been before, into the mysteries of counterpoint. For several years
after this he remained with Vogler, studying, working, composing, and
enjoying.

Indeed, the biographer who shall give us a permanent "Life of Meyerbeer"
must recur to the composer's sojourn in Darmstadt as the most romantic
phase of his existence,--when, away from the pleasures and temptations
of a great capital, free from the demands of society, with nothing to
distract his mind from Art, he consecrated his young life to her
service. His few associates of his own age were devoted to the same
cause, and all were certainly inspired by a mutual emulation. But only
one of the little group, besides the subject of this sketch, has left a
name to be remembered,--and that is Carl Maria von Weber. The other two
may have had as noble aspirations, as untiring energy, as passionate
ambitions; but Fate had decreed that Godefroy von Weber and Gaensbacher
should never win the world's applause. Carl Maria and Meyerbeer were the
"cronies" of the little school. They were constantly together; they
built their air-castles with a view to future joint occupancy; they made
their boyish vows of eternal friendship. Among the papers of Weber was
found, after his death, one bearing the title, "Cantata, written by
Weber for the Birthday of Vogler, and set to Music by Meyerbeer." The
words of Weber, it is said, are better than the music of his friend.

All these boys loved their old master, the Abbe, and knew no greater
pleasure than to enjoy his personal instructions. The duties of each day
were regular, simple, and gladly performed. The Abbe, in his capacity of
priest, began by celebrating a mass, at which Carl Maria von Weber
assisted, as little boys do in these times at every mass throughout the
land. Then, as a _maestro_, the Abbe apportioned to each of his pupils
the task for the day,--the _Kyrie_, the _Sanctus_, or the _Gloria in
Excelsis_. Vogler himself joined in the task, and the completed
compositions were sent to the various church-choirs in the Duchy for
performance. In the twilight hours, there were strolls about the quiet
streets of Darmstadt, in the Ducal gardens, or among the tombstones of
an old churchyard in the suburbs of the city. Outside the