Two other opera composers who failed to gain Gounod’s reputation as a song-writer worked with more consistent artistic conscience. Ambroise Thomas (1811-1896), composer of ‘Mignon,’ published a number of songs, notably the six Italian songs written during his residence as a _Prix de Rome_ scholar in Italy. His part-songs for men’s voices also gained great popularity because of their spirited treatment. Georges Bizet (1838-1875) was a man of far finer mettle than either of the two we have named. His numerous songs show as high a standard of excellence and almost as high an average of creativeness as the work of any song writer between Berlioz and Fauré. The best and most popular of them is the _Pastorale_. Another excellent lyric is _Après l’hiver_. In the _Sérénade_ and _Ouvre ton cœur_ we find a suggestion of the exotic color which was popular in Paris at the time. _Je n’en dirai rien_ illustrates Bizet’s aptitude at the imitation of the antique, and _Qui donc t’aimera mieux_ is an interesting and altogether charming trick song for an agile soprano. Among the other songs which are well worth knowing are _Rêve de la bien-aimée_, _Ma vie a son secret_, _Douce mer_, and _N’oublions pas!_ Félicien David (1810-1876), who initiated in Paris the vogue of the exotic, maintained the fashion as best he could in his songs, which show a talent for the picturesque and striking and no small amount of musicianship. The best of his songs is doubtless _Les Hirondelles_, which adds to a charming simple melody an accompaniment full of picturesque ornamentation.