Onslow (1784) enjoyed an honorable reputation during his lifetime as an exponent of classic models. He was a prolific writer of chamber music, but his style, though correct, was cold, and his three comic operas are of small importance. Reber (1807) may be regarded as the successor of Onslow in that he also restricted himself to traditional forms. He was an excellent contrapuntist as well as one of the most cultured musicians France has produced; as a result, his compositions reflect the refinement of his character. Moreover, his conservative and careful style was modelled after that of the German classicists, and the constitution of his orchestra is like Mozart's. Practically all modern instruments, all instruments of percussion excepting kettle-drums, and even trombones are excluded from most of his orchestral works. He wrote four symphonies, one overture and one suite, besides chamber and salon music in various forms. Although Félicien David (1810) is best known to the general public on account of his opera "Lalla Rookh," he was at his best as an exponent of graceful and buoyant instrumentation. Not that his orchestration can be regarded as epoch-making when compared with that of his contemporary, Berlioz, for of the two, David was the more faithful to French traditions, and his scoring is more like that of Haydn than any other French composer. On the other hand, David, like Berlioz, introduced certain scenic qualities into his orchestration, which is ever poetic, supple, and varied. Berlioz's aim was to re-echo the thoughts of the grand romantic poets, whereas David was _par excellence_ a dreamer in the realm of picturesque imagination, of tender love, of ardent passion. In consequence of his extensive journey through the East as an apostle and missionary of Saint-Simonism, David acquired an insight and knowledge of Oriental melodies that caused him to be the first to introduce genuinely Eastern characteristics into Western music, as strikingly displayed in "Lalla Rookh." The effectiveness of this opera is largely due to its fine orchestration, for though the musical contents are clear and simple, the ideas themselves occasionally lack force, whereas the harmonies are somewhat meagre. However, David possessed, in addition to the characteristic feature of _clearness_, a highly developed talent for artistic disposition of his plans, for poetic picture-painting, and for rich and descriptive orchestral color. Of especial significance is his aptitude for accompanying a solo voice with daintily embroidered counterpoint. David contributed substantially to the development in France of independent orchestral music, and displayed, among other things, a commendable appreciation for well-marked rhythmic effects. His list of instrumental works includes a symphony in F, twenty-four string quintets, and two nonets for wind instruments.