Berlioz, in addition to his large symphonic and vocal works, wrote numerous detached songs with orchestral or pianoforte accompaniment. _La Captive_, which was greatly extended from the original sketch written in Italy; _Le 5 mai_, a magnificent song glorifying the first Napoleon; _Sara la baigneuse_, and _La Mort d’Ophélie_, lovely works for two female voices; a fine _Hymne à la France_; _Neuf mélodies Irlandaises_, a youthful effort, inspired by the poems of Thomas Moore; _Les nuits d’été_, six settings of poems by Théophile Gautier, are the most notable of this class of compositions. By adding to these the pieces collected to form _Lelio; Rêverie et Caprice_, for violin solo and orchestra; a charming _Meditation religieuse_, after Thomas Moore; and a striking _Marche Funêbre_ for the interment of Hamlet; we have enumerated all the works of Berlioz, great and small, that are worth remembering. The true domain of Berlioz, that in which he is really king, is the orchestra. He gave an extraordinary impetus to the art of instrumentation,—even after Beethoven and Weber, on whom he leaned,—by his marvellous instinct for blending the various timbres of orchestral instruments, by his indefatigable search for new combinations of tone, by his constant effort to add to the power and the expressiveness of the orchestra in order to make it translate the most diverse sentiments, thus giving to his music a stronger relief, a more animated color. The prodigious result was, that he almost recreated the art of orchestration, opened a new horizon to it, and therefore deserves the title of the French Beethoven. Is it not also astonishing that his genius, audaciously innovating in regard to instrumentation, exercised an influence not only on all those musicians who began their career after his success was established, but on others who were his elders by age and reputation, such as Meyerbeer, or somewhat younger, such as Richard Wagner? These two composers, not the least able of their day, having heard the works of Berlioz at a time when very few took him seriously, had an intuition of his worth and from the very first felt instinctively even more than Schumann, that it was necessary to respect this young man gifted with such extraordinary imagination. [Illustration: CARICATURE OF BERLIOZ. By Benjamin—Nov. 1, 1838. ]