In pure orchestration, Puccini in _Tosca_ shows an advance on _La Bohème_, in the general symphonic fulness and in the more extended use of representative themes. The orchestra employed is the usual large orchestra of the moderns, and Puccini adds a third flute, a contrabassoon, a celesta, and for the special effects in the opening of the third act a set of bells. There are several places where more work than hitherto is obtained from the dividing of the strings, but not in any way like the Strauss method, for example, of subdividing them into several distinct groups. As will have been seen during the progress of the story, the themes stand out as invariably characteristic, and at the first entrance of Tosca the theme is delightful, given out by the flute against the plucked strings. There is excellent work by the wood wind in the impressive finale of the first act, which is mainly developed out of the bell theme. In the pastoral music at the opening of the third act Puccini uses with characteristic force a passage of fifths--one which he is always very fond of employing, and which, curiously enough, always has the effect of bringing about the special flavour or atmosphere it is intended to convey in any one particular place. In the _Daily Telegraph_ the critic prefaces his column notice, which appeared the day after the first production, with a protest against the conjunction of a pure and beautiful art--music--with the workings of a humanity that has gone to the devil. But apart from these considerations, the writer has little but praise for the singularly lucid libretto. "The first and all important remark to make concerning the music," he proceeds, "has to do with its Italian character. There is very little that can be regarded as common to it and to the typical German opera. The pedestal is not on the stage and the statue in the orchestra. Tosca does not offer us declamation as a key to symphonic music nor symphonic music as a key to declamation. The work does not follow the old operatic lines into matter of detail. All is subordinate to the changing situations and emotions of the stage. So far Tosca is modern; for the rest it presents the characteristics which have always distinguished Italian opera--long reaches of tender or passionate melody, intense climaxes, and a disposition to proceed everywhere on broad and direct lines to the desired goal." The charm of the light music of the first act, the beautiful soul of Cavaradossi to the picture he has painted, the piling up of the effects in the finale, the vigour of the music in the second act, particularly where Scarpia presses his suit, and the duet of the lovers at S. Angelo, are the points which call forth praise, while, on the other hand, this critic finds most of the music allotted to Angelotti and Scarpia dull. The notice ends with a tribute to the art of Ternina, who "acted with the grace and directness of a true tragedian."