Between these and the few pieces which are frankly almost wholly dependent upon a program are a great number of others lightly suggestive of their titles. Sometimes it is only in general character. _Les vendangeuses_ and _Les moissoneurs_ do not seem so particularly related to wine-gathering or harvesting that the titles might not be interchanged; but both have something of a peasant character. In _Les abeilles_ and in Le moucheron the characterization is finer. The pleasant humming of the bees is reproduced in one, the monotonous whirring of the gnat in the other. _Les bergeries_ is simply pastoral, _Les matelots Provençales_ is a lively march, followed by a horn-pipe. _Les papillons_ is not unlike the little piece so named in the Schumann _Carnaval_, though here it means but butterflies. There are some imitative pieces which are in themselves charming music, such as _Les petits moulins à vent_, _Le réveille-matin_, _Le carillon de Cythère_, and _Les ondes_, with its undulating figures and fluid ornamentation. Finally the program music is in various degrees programmistic. A little group of pieces called _Les Pèlerines_ (Pilgrims) begins with a march, to be played gaily. Then comes a little movement to represent the spirit of alms-giving, in a minor key, to be played tenderly; and this is followed by a cheerful little movement of thanks, to which is added a lively coda. The whole is rather an expression of moods than a picture of actions. _Les petits ages_ is in some respects more literal. The first movement, _La muse naissante_, is written in a syncopated style, the right hand always following the left, which may well express weakness and hesitation. _L’adolescente_, the third movement, is a lively rondo in vigorous gavotte rhythm. Two sets are entirely program music. One of these, _Les Bacchanales_, has a march (_pésament, sans lenteur_) of the gray-clad ones; then three movements expressive of the delights of wine, the tenderness to which it warms and the madness to which it enflames. The music is not of itself interesting. More remarkable, though devoid of musical worth save a good bit of the comical, is _Les fastes de la grande et ancienne Mxnxstrxndxsx_. These records or tales are divided into five acts, which represent the notables and judges of the kingdom, the old men and the beggars (over a drone bass), the jugglers, tumblers and mountebanks, with their bears and monkeys, the cripples (those with one arm or leg played by the right hand, those who limp played by the left), and, finally, the confusion and flight of all, brought about by the drunkards and the bears and monkeys. III