It is very difficult, however, to judge an artist and estimate fairly his talent on the strength of a single work. The score of _Mephistopheles_ can only give an idea of the author's tendencies, only serve to indicate his temperament and his artistic nature. It is insufficient to permit of classifying him, and of fixing his place among contemporary composers. If Boito continues to preserve the obstinate silence which he has preserved now for quarter of a century, his fugitive dramatic passage can only be regarded as an accident in the musical history of this century. If he decides at length to shake off his idle inclination and break that silence by offering to the public that _Nerone_ which has been so long talked about, and at which he works so slowly, perhaps it will be possible to form a rational opinion of his worth and of his personality. Until then, criticism will be very difficult and will run a great risk of going astray. [Illustration: Arthur Pougin] [Illustration: GIOVANNI SGAMBATI _Reproduction of a photograph from life by A. Manfredi & Co., Turin._] [Illustration] GIOVANNI SGAMBATI For what he has done as composer, pianist, and conductor, and because of the strong and wholesome influence that he has exerted upon the musical life of his countrymen, the name of Giovanni Sgambati will be an honored one in the history of Italy for the last half of this century. His influence has been not less potent from the fact that his writings and concert performances have been unconnected with the stage. Italy is no longer what it was, essentially the greatest land of opera; its glory has largely departed, the mighty music-dramas of Richard Wagner and, in a lesser degree, the works of Meyerbeer, Gounod, Bizet, Massenet, Tschaïkowsky, Goldmark and others, having over-shadowed all of the Italian operas excepting one or two by Bellini and Rossini, the later and greater works of Verdi, and the "Mefistofele" of Boito, and it is to-day much more natural than formerly for an Italian who is called to high musical work to turn to that kind of composition in which the fame of the greatest masters has been made. While a strong liking, and even preference, for opera will always characterize the Italians, it is certain that a taste for symphonic and chamber-music is gradually being acquired, as the knowledge of these forms becomes more common. As forwarding this work, the names of Bazzini and Martucci should also be mentioned.