Of even greater popularity and possibly more originality is the work of Cécile Chaminade (born 1861), whose songs occasionally approach a high degree of artistic finish. In her genre songs Mme. Chaminade is especially felicitous. Several random examples are the _Chanson Slave_ and the _Chanson Espagnole_, among the pseudo-national lyrics; the _Mandoline_ and _Madrigal_ and _Voisinage_, each in a special and easily appreciated style. In her dainty imitations of the antique the composer shows her French training and zest--notably in _Auprès de ma mie_, _Noël des oiseaux_, and _Ronde d’amour_. In her emotional songs, such as _Chanson triste_ and _Amoroso_, she is less distinguished. And in the religious or grandiose songs, such as _Immortalité_ and _l’Idéal_, she is pompous, noisy, and uninspired. Her creative impulse is not great. Her ideas are most charming when they are most modest But when she is working with material that is to her taste she can manipulate it with a deftness that many a first-rate composer might be proud of. A further group of French song writers may be mentioned because their work contains some elements of distinction. Gabriel Pierné (born 1863), a musician of fine endowments and a force in Parisian musical life, works with deftness and excellent taste, chiefly in the smaller forms and the more modest ideas. J. Guy Ropartz (born 1864), a pupil of César Franck, has kept himself clear of the modern radical tendencies in Paris and has continued to produce songs in the old manner, but considerably more vigorous and creative in content than was once the fashion. Xavier Léroux (born 1863), with at least one fine song, ‘The Nile,’ should be named, and also Augusta Mary Anne Holmès (1847-1903), an Irish woman who lived and worked in Paris and wrote songs of large and pretentious outline, best of which, perhaps, is ‘An Irish Noël.’ Reynaldo Hahn (born 1874), one of the weaker pupils of Massenet, followed his master’s method to considerable popularity but to little artistic purpose. Other song-writers who may profitably be mentioned are Arthur Coquard (born 1846) and George Adolphe Huë (born 1851). V