Our fifth high-priest was not alone a musician; he was a philosopher and the ablest critic the musical world has seen. He was so broad that he could be generous as well as just, as was shown by his laudatory writings in regard to his rival,--Mendelssohn. He estimated Wagner's cruder stage correctly, and would doubtless have become an adherent of the new faith had he lived to see its riper fruits; for he was always susceptible to manifestations of genuine creative ability and logical reasoning. The consideration of Wagner, the sixth in line, involves entering upon a somewhat new field, and it will require so much space that I will give him, his forms, and his methods a separate chapter. Before undertaking that task it may be well to trace some of the tributary influences which, following collateral lines, have helped to swell the tide of musical culture. It will facilitate the accomplishment of this purpose to scan the achievements of each nation separately, mentioning only such individuals and events as were active agents in furthering the cause. France evinced a very marked interest in music early in its second era, but her good intentions were several hundred years in crystallizing. The establishment of an Academy of Music in Paris (1672) was the first really noteworthy event in the history of French music. Tulli, who was its first director, was a very able man. He wrote operas, which were sung in French, and he created the chrysalis from which our symphony was later developed. Although the next hundred years were not productive of great men, Paris had at the end of that period become attractive and congenial to such masters as Gluck, Cherubini, and Piccini. This shows that she had educated a generation of intelligent listeners, and at least a portion of the executants necessary to the performance of grand opera. In 1795 the Conservatory was founded, which event marked the beginning of that earnest, organized effort that has given the world so many rare instrumentalists and vocalists. The finesse of the French school is delicious when applied with intellectual breadth sufficient to prevent its becoming finical. France has also produced numberless composers, but few who have attained to more than passing fame. Her people are quick in their perceptions, and deft and dainty in all that appertains to æsthetics. They are enthusiastic lovers of such music as does not require them to think earnestly while following it, but they are emotionally volatile.