=The French School=.—Prominent among organists of the French school in the 19th century may be mentioned: =L. J. A. Lefébure-Wély= (1817-1869) and =Antoine Eduard Batiste= (1820-1876). The works of both these organists are still widely played and have won much popularity. Wely has been called the “Auber of the organ.” His works display fertility of melodic invention and a piquancy of harmonic treatment, but are entirely lacking in the polyphonic element. Much the same may be said of Batiste, who was a fine player and teacher, and who equalled Wely in tunefulness but not in musicianship. =Nicholas Jacques Lemmens= (1823-81), a great player (especially of Bach) and author of the celebrated “Ecole d’Orgue” may be said to have laid the foundation of the modern French school. Conspicuous among his successors have been: =Camille Saint-Saëns= (1835-——), a most versatile musician and a noted organist; =Théodore Dubois= (1837-——), =Théodore Salome= (1834-——) and =Felix Alexandre Guilmant= (1837-——). Guilmant, one of the most noted organists and composers of the present day, was a favorite pupil of Lemmens. He has been one of the most prolific composers since the time of Bach, is a master of all the resources of the modern organ, and has a fertility of invention and a fluent command of contrapuntal resources. Another eminent French organist is =C. M. Widor= (1845-——), also a composer of distinction. A powerful influence was exerted on modern organ music, as well as general composition, by the eminent organist and composer, =César Franck=, who was, for a number of years, in charge of the organ class at the Paris _Conservatoire_. =The Italian School=.—Among recent Italian organists =Filippo Capocci= (1840-——) and =Enrico Bossi= (1861-——) are worthy of mention. Both are splendid organists and prolific composers. They are leaders in the revival of good organ playing in Italy, where a determined effort is being made to restore the art to its former supremacy.