Whether, or not, the peace to which our attention is thus forcibly directed be really that alluded to in the text, in no wise affects the power of the passage. All that Beethoven intended to express was his own interpretation of the words; and it is in his own strong language, and not in that of the Schools, that he expresses it. Cherubini makes equal use of the dramatic element; more especially in his magnificent Requiem Mass in D minor [see Requiem], his grand Mass, in the same key, and his famous Mass in A, written for the Coronation of Charles X: but, always in a way so peculiarly his own, that the touch of his master hand stands everywhere confessed. In all these great works, and innumerable others, by Weber, Schubert, Hummel, Niedermeyer, Rossini, and Gounod, we find the dramatic form of expression entirely superseding the devotional; uncompromising realism triumphing over the idealism of the older Schools; the personal feelings and experiences of the Masters over-riding the abstract sense of the text. This circumstance makes it extremely difficult to assign to these creations of genius a true æsthetic position in the world of Art. Church Services in name, they have certainly failed, notwithstanding their universally-acknowledged beauties, in securing for themselves a lasting home in the Church. That their use has been tolerated, rather than encouraged, in Rome itself, is proved, by the significant fact, that not one single note of any one of them has ever once been heard within the walls of the Sistine Chapel. And the reason is obvious. They cast Ecclesiastical tradition to the winds; and, substituting for it the ever-varying sentiment of individual minds, present no firm basis for the elaboration of a definite Church style, which, like that of the Sixteenth Century, shall prove its excellence by its stability. Yet, in the midst of the diversity which naturally ensues from this want of a common ideal, it is instructive to notice one bond of union between the older Masters and the new, so strongly marked that it cannot possibly be the result of an accidental coincidence. Their agreement in the general distribution of their movements is most remarkable. We still constantly find the Kyrie presented to us in three separate divisions. The Qui tollis, and Et incarnatus est, are constantly introduced in the form of solemn Adagios. The same Osanna is almost always made to serve, as in the Missa Papæ Marcelli, as a conclusion both to the Sanctus, and the Benedictus. And, in this vitality of typical form, we find a convincing proof—if one be necessary—that the broad æsthetic principles of Art are immutable, and calculated to survive, through an indefinite period, the vicissitudes of technical treatment in widely differing Schools.
MASSART, Lambert-Joseph, professor of the violin at the Paris Conservatoire, was born in 1811 [App. p.713 "July 19"] at Liège. He came early under Kreutzer's tuition, and afterwards entered the Conservatoire to study composition. According to Fétis (Biogr. d. Mus.) his playing is distinguished by perfect intonation, facility in bowing, and gracefulness of style. In 1843 he was appointed professor of the violin at the Conservatoire, and in this position has been eminently successful. Among his numerous pupils the most eminent is Henri Wieniawski.
MASSE, Felix Marie Victor, born at Lorient March 7, 1822; entered the Conservatoire at 12, obtained the first prizes for piano, harmony, and fugue, and in 1844, after some years study with Halévy, the 'Grand prix de Rome' for composition. His cantata 'Le Rénégat' was given 3 times at the Opéra (Feb. 1845), a rare event. During his stay in Rome he composed a 'Messe Solennelle,' performed at the church of St. Louis des Francais (May 1, 1846), a careful and clever work, though wanting in religious sentiment—never Massé's strong point. The unpublished score is in the library of the Conservatoire. After his two years in Rome he travelled through Italy and Germany, and returned to Paris, where he was much appreciated in society. Publishers readily accepted his 'Mélodies' and 'Romances,' and he gained access to the stage with little delay. 'La Chanteuse voilée,' 1 act (Opéra Comique, Nov. 26, 1850), was followed by 'Galathée,' 2 acts (April 14, 1852), and 'Les Noces de Jeannette' (Feb. 4, 1853), a charming lyric comedy in 1 act. These early successes justified the hope that in Massé the French stage had found a composer as fruitful and melodious, if not as original, as Auber; but his later efforts have been less fortunate. 'La Reine Topaze' (Dec. 27, 1856) indeed succeeded completely, and has kept the boards, but 'La Fiancée du Diable' (June 3, 54); 'Miss Fauvette' (Feb. J 3> 55); 'Les Saisons' (Dec. 22, 55); 'Les Chaises à porteurs' (April 28, 58); 'La Fée Carabosse' (March 7, 59); 'La Mule de Pedro' (March 6, 63); 'Fior d'Aliza' (Feb. 5, 66); and 'Le Fils du Brigadier' (Feb. 25, 67), though fairly received, soon disappeared. Some however contain good music, especially 'Les Saisons' and 'Fior d'Aliza.' In 1860 he became chorus-master to the Académie de Musique, and in 66 succeeded Leborne as professor of composition at the Conservatoire—gratifying appointments as showing the esteem of his brother artists, although the work they entailed left him little time for composition. On June 20, 1872, he was elected to the Institut as successor to Auber.
After a long period of silence Massé produced 'Paul et Virginie,' 3 acts (Nov. 15, 1876; given in Italian at Covent Garden Opera-house, June i, 1878). In spite of its success and its
