The flagrant imitation of Rossinian forms by the fellow-artists of the master clearly indicated their inferiority, at the same time that it demonstrated his absorbing influence. In France also where the Théâtre-Italien, brilliant with its splendid array of illustrious singers, had early made known the most important of Rossini's works, this influence made itself felt to a considerable extent, but less completely, and with more discernment, our musicians merely drawing profit from the progress made by the author of _il Barbiere_ and _Semiramide_, without permitting themselves to abandon in his favor their own personality. It was easy to recognize the trace of this influence in certain of Boieldieu's scores, in Auber's manner, nay, even in that of Herold, an artist of strong and eclectic temperament, whose own originality never failed him for an instant, while accepting up to a certain point a reflection from Weber on the one hand, on the other Rossini, whom he had been able to study for a long time in his own country. But the French musicians had as a safeguard against servility to the latter artist, that innate sentiment of dramatic truth which formed part of the genius of their country and which did not permit them to sacrifice anything to the exact expression of that truth. Besides, the great artists of whom I speak here had a personal worth which put them quite beyond the thought of slavery or of too great submission to any artist whatever. Nevertheless, I repeat that Rossini's influence over the French artists was very considerable, and I add that it was happy and beneficial because it was limited to making them profit by methods and discoveries, the use of which, joined to their natural gifts and qualifications, could only enrich the latter and increase the domain of art. [Illustration: MARBLE MEDALLION OF ROSSINI, BY H. CHEVALIER. Made by order of the Minister of Fine Arts for the Foyer of the Paris Opera House. Exhibited at the Paris Salon of 1865.] In closing I would say briefly that for half a century Rossini's genius has shed its radiance over entire Europe, and that that radiance seemed to eclipse everything around him. After having reigned master of the art in his own country for fifteen years, he increased his influence still more by his contact with France, and it was in France, whose temperament, full of taste, eclecticism and reason, he knew so marvellously, that he wrote his most magnificent masterpiece, _William Tell_, before which all his former works pale, with the exception of _The Barber of Seville_. If _The Barber_ is the imperishable and prodigious model of opera bouffe, _William Tell_ is the most touching, the most striking dramatic poem which ever flowed from his pen. Either would suffice for his glory, and both assign to him a unique and quite exceptional place in the history of musical art in the nineteenth century. [Illustration: Arthur Pougin] [Illustration: FRESCO FROM VIENNA OPERA HOUSE