César Franck (1822) might be compared in two respects with Cherubini. Both of them, though foreigners, are rated as French composers, and the dignity and solidity of their respective styles isolate them both from the more usual methods of their respective eras. Franck differs from his French contemporaries by reason of what might be termed the masculine severity of his inspiration, together with monumental mastery of polyphonic design and exhaustless command of orchestral resources. These attributes have earned him the title of "The French Bach." The opera "Hulda" is a forceful exposition of the gloomy Viking subject, but Franck rose to the height of his creative power in his chamber music, and in the symphonic poem with chorus: "Les béatitudes." That he was influenced by Liszt and Wagner is undeniable. Not only do his productions give evidence of a reserved use of guiding themes, but also his orchestration has affinity to that of "Tristan" so far as intricacy is concerned. This mention of Wagnerian influence suggests an interesting comparison between the styles of César Franck and of Lalo (1823). The latter was a professed admirer of Wagner, and applied such of his theories as are restricted to "Tannhäuser" and "Lohengrin." This is particularly noticeable in the opera: "Le Roi d'Ys." In antithesis to Franck's severe and somewhat solemn style of writing, that of Lalo betrays a fund of spontaneous invention, curious rhythmic effects, charming and sprightly instrumentation, and great aptitude for imbuing his works with the necessary local coloring. Both the violin concerto styled "Symphonie éspagnole" and the "Rhapsodie norvégienne" for orchestra are distinctively characteristic. His chamber music is likewise written with sentient regard for euphonious effects and artistic requirements, but it is conspicuously in the art of orchestration that Lalo displays his individuality to the best advantage.