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 486 MEYERBEER MEYR in Paris in March, 1836, has not yet diminish- ed ; and even in Berlin, where his productions had been subjected to the adverse criticism of jealous rivals and of antagonistic schools of music, all depreciating voices were hushed by the " Huguenots," and the friends and foes of the composer became for the first time unani- mous in their admiration of his genius. The dramatic character of the " Huguenots " is not surpassed by any work of the lyrical stage, and the strife between the great religious parties in France was never before portrayed with such graphic power and thrilling effect. The " Huguenots " is, above all, to be regarded as one of the first of the operatic achievements which derive their inspiration from the records of history ; and it contributed to inaugurate the era of the lyrico-historic drama, in which the greatest effects that the musical and dramatic stage and its accessories are capable of are used to illustrate the most momentous conflicts of mankind. Like most great works, those of Meyerbeer required time in their elaboration, and 13 years elapsed before his next opera, Le prophete, was ripe for performance. It ap- peared in 1849, and at once took a high place as a worthy successor of the " Huguenots." Although much less imposing in its historic groundwork and in its general effect, it shows the same largeness of musical and artistic treatment ; and as a lyrical drama it derives great beauty from the admirable manner in which the maternal love of Fides is placed in contrast with the religious frenzy of her son, the prophet of Leyden. The scores in this opera, as in Meyerbeer's other works, are won- derful in their elaboration, and may be com- mended to students for their careful dramatic portraitures, in which the orchestra is made to echo or anticipate the characterization of the scene. The extraordinary labor bestowed upon the mise en scene of the " Prophet " has been deemed superfluous by several critics, who regard this excessive elaboration of external effects as derogatory to the genius of the com- poser and to the intrinsic merits of his works. The "Prophet" was followed by Pierre le Grand (UEtoile du nor A, 1854), and " Dino- rah" (Le pardon de Ploermel, 1858). The former of these shows the versatility of the author, though its success cannot be compared with that of its great predecessors. "Dino- rah," which treats a rustic and pastoral theme, is variously criticised in Europe/and unfavor- ably as regards melody. Meyerbeer published a great number of miscellaneous musical com- positions, among which are Le camp de Silesie, an opera produced at Berlin ; a Stabat, a Mise- rere, a Te Deum, eight of Klopstock's canti- cles, a number of cantatas, many songs for solo voice with pianoforte accompaniment, and some minor orchestral works. He wrote also the incidental music for his brother's drama of Struensee. He was for many years engaged upon the opera L 1 Africaine. This work was elaborated with the same indomitable care that the composer had bestowed on Robert le diable and Le prophete, and exhibits the same char- acteristics of its author, a profound knowledge of all the elements of effect and labored detail rather than inspiration. Although it was com- pleted several years before his death, he delayed its production, waiting to find a prima donna who should satisfy his ideal of Selika. It was brought out in Paris in April, 1865, and in New York in December of that year. See Meyer- leer et son temps, by H. Blaze de Bury (Paris, 1865), and Giacomo Meyerbeer, sein Leben und seine Werlce, by H. Mendel (Berlin, 1868). MEYERHEIM. I. Friedrieh Ednard, a German painter, born in Dantzic, Jan. 7, 1808. He studied at Berlin, and became a professor in the academy there. Many of his genre pic- tures, chiefly relating to the life of the peas- antry, have been engraved, his " Altenburger in the Corn Field " by himself. His best known picture is a little milkmaid sitting at the roadside counting her earnings, of which there is a chromo-lithograph. II. Wilhelm Al- exander, his younger brother, excels as a paint- er of horses, battles, and landscapes, and as an engraver. He exhibited in 1868 " Prince Frederick Charles at Liebenau " and " The King in the Battle of Sadowa." III. Ednard Franz, son of Friedrieh Eduard, born in Ber- lin in 1838. He studied under his father, and spent some time in Diisseldorf. Among his genre pictures are "The Polisher of Arms" (1858), "Children with Cats" (1859), "The Love-sick Girl " (1866), and Domroschen and Schneewittchen (1870). IV. Paul Friedrieh, brother of the preceding, born in Berlin in 1842. He studied under his father, and spent over a year in Paris. He has produced many fine genre animal pictures, among others "The Serpent Tamer in the Menagerie," " The Goat Market," and "The Tribunal of Apes." He has made designs for illustrated works, inclu- ding Reineke Fuchs (1870). METERS, a S. county of Dakota, bordering on Nebraska, recently formed, and not inclu- ded in the census of 1870; area, about 2,850 sq. m. It is drained by the Keya Paha and affluents of White river. The surface consists of undulating prairies and plains. MEYR, Melchior, a German author, born near Nordlingen, June 28, 1810, died in Munich, April 22, 1871. He studied at Anspach, Augs- burg, Munich, and Heidelberg, became known as a poet in 1835 and as a prose writer in 1838, resided in Berlin from 1840 to 1852, and after- ward chiefly in Munich. His principal works are his Erzahlungen aus dem Ries (2 vols., Berlin, 1856-'60; 2d ed., Leipsic, 1868; sup- plement, Hanover, 1870) ; Gott und sein Reich (Stuttgart, 1860; sequel, Emilie, 1863); Ge- sprdche mit einem Grobian (Leipsic, 1866 ; 2d ed., 1867); Duett und Ehre, a novel (2 vols., 1870) ; and the posthumous Gedanken uber Kunst, Religion und Philosophic, edited by Max count von Bothmer and Moritz Car- riere (Leipsic, 1874).