In October 1912, the Academy of Beaux-Arts elected Massenet's successor; he was to be replaced by Gustave Charpentier, a former student. As that candidate waited for the results, he wrote a “Homage to Massenet.”

What emotion suddenly overcomes me? It is two thirty. In an hour, the voters sitting under the glorious cupola will make their choice for Massenet's successor. I seem to have realized it only just now that my friends have left me alone in a bare room. I look around and shiver with loneliness.…

The clock races on!

Three o'clock …

Suddenly, I notice my teacher's portrait hanging on the mirror. His eyes shine, as if aflame, the kind of flames that formerly inspired our bourgeoning enthusiasm. What does he want? Is he sorrowful? Mournful? Does he send me encouragement? A reproach?

Ah! I know how unworthy I am, oh my beloved teacher! Why am I a candidate? Why? Do I dare say why? Must I explain? His eyes, now less severe, seem to encourage me. I have made this attempt in order to honor you, my good teacher, because since your death, from all sides your enemies have renewed their determination to diminish your august reputation. I want to become one of those who speak of you in the old palace of the arts….

I hear a knock on the door. Anguish seizes me again. I anxiously listen to the murmur of voices; are they joyous or severe? … Come now, have courage!

I disguise my face with an attitude of harsh indifference, and I open the door …

Widor embraces me!

After he was elected, Ninon g ave the new academician his former teacher's regalia, as well as a souvenir—a miniature tambour-major's cane of ebony, silver, and rubies.

Massenet, “thanking his host and packing his bags,” did not leave any work unfinished. Even Cléopâtre, the last of his three works inappropriately labeled “posthumous,” was completed before his death. Only their premieres were lacking. Two were produced before the outbreak of World War I, Panurgein 1913 and Cléopâtrein 1914. Amadishad to wait until 1922.