Of French opera as a whole during this century, the general characterization may be made that it has gained in cosmopolitan quality, nearly all the composers mentioned in the present chapter having gained a world-wide fame. The distinguishing feature of this class of opera is its sprightly rhythm, and the clearness of the melodic forms. The instrumentation, also, is generally clever. The music is pleasing rather than deep, and the popularity of French opera in Germany, for example, is mainly due to its value as a relief to the often undue elaboration of the original German article. [Illustration] CHAPTER XXXIX. LATER COMPOSERS AND PERFORMERS. Before summing up the remaining names of musical history, a brief retrospect over the present century may be in place. The first quarter of the nineteenth century was distinguished by two composers of the first order--Beethoven and Schubert; and by a large number of highly gifted lesser artists, some of whom, such as Spohr and Weber, bid fair to remain long enrolled in the list of immortals. The second quarter of the century was made memorable by the rise and blossoming into full glory of the romantic school, all the works of this school (excepting a few of the earlier of Mendelssohn) having been produced during this period. Mendelssohn, Schumann, Chopin and the young Wagner were the active spirits of this time, and their productions not only enriched the store of the world's tone poetry, but changed the general direction of musical ideals in many ways.