This artist, in spite of the changes which music underwent during his lifetime, was so thoroughly convinced of the superiority of his conceptions of the noble art, that one could not but feel a respect for him and for his best qualities. The march and the prayer in "Olympia," the scene of the revolt in "Ferdinand Cortez," best of all, the grand _finale_ of "La Vestale," rest upon motives so expressive, and appeal so strongly to the emotions, that one cannot do otherwise than admire them. It was Spontini's misfortune never to find another poem which suited his genius so well as "La Vestale." "Olympia" bears evidence of a singular indecision and of repeated modifications, in the midst of which the composer's idea and intention vaguely float. In fact, Spontini constantly made changes in his scores, pasting alteration over alteration until almost every page resembled a patchwork or mosaic. "Ferdinand Cortez" contains some rare beauties as regards melody, expression, and dramatic effect, but these beauties are exceptional; "La Vestale" alone was a true masterpiece. In this opera we must consider especially the high inspiration which breathes through it, the powerful emotions which it reveals, and not pause at Spontini's somewhat embarrassed formulas and mediocre methods. What tenderness in the first duo of Licinius and Cinna, _Unis par l'amitiè_; what anguish in the supplication of Julia, _Oh! des infortunès dèesse tutèlaire_; what passion in the air _Impitoyable dieux_, and what sweet resignation in the cavatina, _Les Dieux prendront pitiè_..! The last song, _Adieu mes tendres sœurs_, is as sadly expressive as the hymn _Fille du ciel_ is full of religious sentiment, and this series of magnificent pages is crowned by that imposing _finale_ of the second act, which was at that time a work of genius. And yet, when "La Vestale" was revived at the _Opéra_ in 1854, three years after Spontini's death, it was played only eight times, making a total of 213 performances in Paris. When "Ferdinand Cortez" was played again in 1840, it lived through only six performances, making a total of 248 in Paris. After all, Spontini, with his great melodic qualities and rare dramatic instinct, only continued in the path which Gluck had laid out, and was in no sense an innovator. Thus he exercised no influence on musicians who followed him, while he stood by and saw powerful rivals revolutionize musical art and reform the public taste.