The germ figures which Franz uses in his accompaniments are almost endless in their variety. Sometimes they are, in a restrained way, highly picturesque. We may point out the triplets in _Was pocht mein Herz so sehr?_, the suggestion of ripples in _Auf dem Meere_, the broken accompaniment in _Es treibt mich hin_, the delicate trill which persists through _Ach, wenn ich doch ein Immchen wär_, the long rolling diatonic figure in _Meeresstille_, and so on through innumerable instances. The attainment of the most exquisite beauty within the smallest limits may be studied in _Widmung_, _Deine weissen Lilienfinger_, _Leise zieht durch mein Gemüth_, and _Treibt der Sommer seinen Rosen_, the last a remarkable example of a song built up out of the repetition of the briefest of units, yet without monotony. Franz’s range of expression is usually limited to the tender and graceful. He has not succeeded in the mood of tragedy or deep emotion. But several of his songs are powerfully energetic, witness _Frühlingsfeier_ and _Das ist ein Brausen und Heulen_. The dramatic element, too, is almost entirely absent, though in such a song as _Childe Harold_ we have something approaching it. The influence of the chorale, of which traces are to be found in nearly every one of the songs, is predominant in such ones as _Gute Nacht_, _Wenn sich zwei Herzen Scheiden_, _Habt ihr sie schön gesehen_, _Stille Liebe_, _In der Fremde_, _Der Schmetterling ist in die Rose verliebt_, and _Frühling_, as well as others already mentioned. To name all the Franz songs which are distinguished in musical beauty and workmanship would be to name the best portion of his life work. But we may point out as of especial beauty (in addition to those already named) _Auf geheimen Waldespfade_, _Auf dem Teich_, _Der Sommer ist schön_, _Die Welt ist so öd_, _Im Friedhof_, _Im Walde_, _Für Musik_, _Im Mai_, _Ich hab’ in deinen Augen_, _Der junge Tag erwacht_, and _Er ist gekommen_. IV