The story of the triumphal period after 1864 can be only summarized here. A cardinal factor in it was the unwavering support of the eccentric, but art-loving king. But there came gradually a marvelous change in the attitude of the public and the critics toward Wagner's ideas. He had been pursued for twenty years by every sort of enmity and derision, until his music had become a literary by-word. But now his importance began to be seen and finally his mastership to be accepted with enthusiasm. The king's original plan was to found at Munich a special Wagnerian theatre, but local hostility was so intense that at the end of 1865 Wagner withdrew to Triebschen (Lucerne), where he completed Die Meistersinger (1867) and Siegfried (1869). There he met Cosima Liszt, the divorced wife of Bulow, and in 1871 moved to Bayreuth, where it was proposed to build an opera-house upon a new plan for the production of his works. This difficult project, with liberal help from the king and from admirers in all parts of the world, was consummated in 1876, when complete performances of the Nibelungen cycle (Götterdämmerung having been finished in 1874) were given on a scale of notable elaboration. The enormous debts incurred were gradually lifted by the proceeds of concerts and operas elsewhere. His last opera, Parsifal, was written in 1877-82. Failing health caused him to spend the following winter at Venice, where, in 1883, he suddenly died. The burial was at Bayreuth.
Wagner was not above medium height, but his erect, alert carriage and his striking and expressive face made him distinguished. He was active and ardent, rather unconventional in manner, though instinctively refined and genial, and a ready and eloquent talker. He was a constant and varied reader, and full of intellectual interest. He loved luxury and was keenly sensitive to beauty in every form. Like strong characters generally, he exerted fascination upon those who stood close to him in friendship, but he was uncompromising in his attitude toward opponents.
207. Growth of his Artistic Ideal.—The evolution of Wagner's artistic attitude presents highly interesting points, psychological and philosophical, of which only a few can here be stated. His first and always central artistic impulse was dramatic. For it he sought expression variously, but chiefly through poetry and music. His musical awakening came only after his propension toward poetry and the literary drama was clearly manifest. Yet, when at length he threw himself with ardor into music, his early ambition seems to have been to emulate Beethoven in the symphonic sphere. It appeared, however, that his creative faculty was not fully at home in 'absolute music.' The ways of such music were too formal in procedure and at the same time too indefinite in mental intention and suggestion. They may also have seemed too difficult of intense application in stirring the public. Wagner could never remain satisfied with any artistic
