However, his operas are a tableaux of gorgeous glowing pictures, and he has had no successful imitation. His scheme of thematic identification and development in its union of calculation and reflection and musical inspiration, is beyond the capacities of those who have come after him. Musical critics and historians have been occupied with the question as to whether or not the progress in operatic composition is possible on the lines laid down, although his influence is a modification of the old method rather than the invention of new ideas. We look to the theatres of Paris for his influence in corrections and technical finish. The clear musical phrases of the "Flying Dutchman" are presented in symphonic way and there is an introduction, aria, scene, duet and chorus. The commencement of each of the three acts with a chorus was a mannerism, but Wagner scarcely ever employed it. In "Tannhauser" there is only one duet. He advanced individualism of the dramatic mood by banishing the aria. He made the orchetra the chief sustainer of the musical framework with the voice for the dramatic organ. The lyric recitative is reechoed at times by melodic phrases and developed motives. The extreme limit of Wagner's methods is "Salome", which is really a symphonic poem for a gigantic orchestra to the accompaniment of dramatic action with a voice obligato. Gounod did not use prolonged themes unless for a dramatic or purely ethical reason. "Faust" is the best suited for the human voice. The orchestra never submerges the voice and is only a factor and not a sum total. At this time the Italian school was at the height where flimsy librettos only served to string together duets, quartets or choruses. In "Faust" there is the first artistic union of score and words.