greatest comfort and pleasure. He was the first to rise and awake the more slothful ones, and he hummed the Marseillaise as he tapped upon our doors.

Once again at Lucerne Wagner confessed that he had been suffering during the greater part of the journey, but had been careful to say nothing lest he should spoil our pleasure. It was with sincere regret that I finally took leave of my hosts, being, however, somewhat consoled by the promise that I should often receive news from Tribscheu, a promise which has been faithfully kept. I returned there the following year, 1870, being at Lucerne when the war was declared. It was evident with his ardent character that Wagner could not fail to be deeply impressed by this event. The idea of a united Germany impassioned him, and I confess that I should have loved him less had he not experienced, like all of us, in these crises the inspirations of patriotism. It was deemed expedient, however, not to touch upon dangerous questions, where we could not possibly agree, but to remain prudently in the regions of art, where we so entirely understood one another. By this method the events which made us opponents could not disturb our friendship. Returned to Paris, the last letter which I received from him was dated the 5th of September. It informed me of the baptism of his son, to whom I stood god-mother, but alas, at a distance. "At the moment of the benediction," he wrote, "a storm burst upon us with flashes of lightning and loud peals of thunder. It appears that the thunder claps will play their part in the life of this terrible child. I myself like such celestial auguries, while I hold in aversion those terrestrial blows which have deprived us of your presence. I keep to our silence so sensibly agreed upon. But happily there is a region of existence where we are and always shall remain friends. All that separates us, even in our opinions upon things which belong to this region, can only contribute to draw us in time nearer and more intimately together." The horrible tempest once calmed, we met again with the same sentiments, each continuing to reserve his own opinions. In 1872 Lucerne was abandoned for Bayreuth; the great project so long cherished of the theatre built after Wagner's ideas was at last to be realized. The 22d of April Madame Wagner wrote me: "One last word from Tribscheu, my dear friend, which we leave with full hearts and troubled minds. To-morrow Wagner goes to Bayreuth, and I am to follow him with the children and Rus in a week. We cannot, however, leave without sending you our tender remembrances."

The first stone of the theatre was solemnly laid at Bayreuth on the 22d of May of the same year. On this occasion the king sent the following despatch to Wagner:—

"From the depths of my heart, dear friend, I express to you, on this day of such great import to all Germany, my warmest and sincerest congratulations. Success and blessing to the great enterprise of the coming year! To-day more than ever I am with you in spirit."

"LUDWIG."

Beethoven's symphony, with choruses, directed by Wagner, was the finest episode of the fêtes which followed. The German public, who knew it well, was enraptured by the inimitable performance. "We cannot express in words our thanks and admiration for the manner in which Wagner interprets the works of Beethoven," wrote the Musical Journal of Berlin. "We have never heard an orchestra spiritualized to such a degree. We add our share of enthusiasm to that of the transported audience." And Mr. Richard Pohl, a well-known writer, said: "Richard Wagner, who always directs without notes, knowing the score by heart, exercises a marvellous and magnetic charm over his orchestra. He forces it to accomplish his wishes, does with it what he will, sure of being obeyed. He animates and electrifies each musician, and always remains in sympathetic contact with the whole instrumental body. All divine, so to speak, his thought. He handles the orchestra like a gigantic instrument, with a certainty that never fails him, with a sovereignty before which all joyfully bow. To form an idea of this prodigy it must be witnessed; the revelation is as unique as is Wagner's incomparably artistic nature." "Our fête is over," wrote Madame Wagner, several days later, "and in spite of very bad weather it has been superb. The words of Beethoven, 'all men become brothers,' seemed to be realized during these few days at Bayreuth, where our friends, known and unknown, have congregated from every quarter of the globe, having all one thought and one faith."

In 1876 the theatre was finished, and that colossal work, the Ring of the Nibelung, was brought forward and put upon the stage. Sovereigns, artists, an intelligent crowd, rushed toward Bayreuth, which could not contain it, and even the streets were put into requisition for improvised camps. That little city, so completely obscure a few years ago, suddenly rendered famous by the caprice of a man of genius, is hidden behind the chilly mountains of Upper Franconia. Pine woods, rapid streams, vast plains, bounded by blue-tinted hills against the misty sky, long poplar-studded roads, along which harnessed oxen slowly travel in couples under the brass yoke which forms a sort of crown over their heads,—such is the approach to this once quiet city, which, all at once, in honor of the theatre which rises in proud simplicity on the hill, throws open its gates to welcome emperors, kings, and princes from all countries, and finds itself filled with a joyous crowd, which the innkeepers, waking from their long lethargy, swindle to the best of their ability. While speaking of innkeepers I may recall a characteristic incident which happened at Munich. The hotel-keepers of the city, having previously come to a common understanding, offered to build the projected theatre for Wagner at their own expense, but at Munich, not in Bayreuth. They considered that it would be a great affair for them. Even as a river is diverted from its course, so they proposed to direct toward themselves the tide of visitors; but the master held to Bayreuth and declined their offers.

Wahnfried! Such is the name of Wagner's villa at Bayreuth. Wahnfried, a name full of melancholy doubt, which gives rise to many thoughts, but is difficult to translate; its truest signification being illusions of peace. At the height of his glory, adored almost, he whose life had been so troubled and painful wished to persuade himself that he had at last cremated, sheltered from all attacks, a retreat where he could thenceforward live in peace; but he himself recognized the futility of this scheme. Can repose exist for such a mind, always pushing irresistibly forward and higher? Folly, illusion, thus to mark a standing-place, to carve one's tombstone, and to dig a grave, while so many desires are still fermenting, and while so many dreams are still outlived, which must be formed, and then again dissipated.

Wahnfried! This word, which at first seemed to me to contain a regret, held, perhaps, on the contrary a hope. The house, constructed upon Wagner's own plan, appears at the end of a long avenue; it is built of grayish red stones, almost square, and without other ornament than the fresco upon the front, which recalls a scene from the Nibelungen. A straight flight of steps leads to the door; that opens upon a small anteroom, which again communicates with a large vestibule, very high, and lighted from the top. It is surrounded, on a level with the first story, by a gallery, decorated with paintings, representing Eastern scenes. The floor is paved with flagstones, divans are placed in the angles, together with marble statues of Wagner's heroes, the work of enthusiastic sculptors, and a large American organ with brass stops. At the right is the dining-room; on the left a little salon filled with objects of art. Facing this is the great hall of reunion, vast and sumptuous, at once library and working-room. It is terminated by a glass rotunda opening into the garden, where a fountain is