The literary writer, Vidal (1820), must also be mentioned as an authority in one branch of instrumentation by virtue of his voluminous work entitled "Les Instruments à archet." It contains an admirable account of stringed instruments as well as of their makers, their performers, their composers. Benoit (1834) is identified with the advancement of musical art in Flanders, and the nature of his teachings emphasizes his strong Germanic convictions. He set to music several Flemish melodramas, but is especially to be commended for an essay on "L'École de Musique Flamande et son Avenir." The unflinching attitude of Joncières (1839) in favor of the Bayreuth master contributed materially in overcoming both dogmatic and racial prejudice. His literary writings reveal the mind of a keen musical critic, but his compositions lack significance in spite of being extremely modern. The ascendency of modern French organ playing has been brought about by Guilmant, Widor, and their associates. But this is not their only claim to recognition, for their creative efforts bear directly upon the art of orchestration. Guilmant (1837) has displaced the classical organ concerto with string accompaniment by creating a more pliable form under the heading of "symphony for organ and orchestra." Widor (1845) has likewise shown a progressive spirit in his various organ, chamber, and orchestral works, which are notable for their artistic skill and for their display of poetic imagination. To be looked upon as the first of the gentler sex to hold a conspicuous position among modern French composers is no small honor. This privilege has been granted to both Augusta Holmès and Cécile Chaminade. What is more, their achievements entitle them to a footing equal in rank to many of their most eminent masculine rivals. Not content to restrict themselves only to smaller forms of composition, both of these women have aspired to higher flights in the realm even of symphony and opera. Nor have their efforts been futile, for they both have written masterpieces of enduring worth. Augusta Holmès, also known under the nom de plume of Hermann Zenta, was a pupil of César Franck. In consequence, her style and orchestration have acquired a certain solidity and dignity that act as an admirable counterpoise to the lightness of touch and dainty scoring that are to be expected from a woman. The opera "Héro et Léandre" and the symphonic poems "Irlande" and "Pologne" may be looked upon in the light of her most representative works. Better known in America is her sister-composer, Chaminade, whose charming songs and pianoforte pieces appeal to both professional and amateur. The fact of her being Moszkowski's sister-in-law has its significance in the plausible assumption that his example and guidance may have aided the full development of her creative powers. The most characteristic phase of her individuality finds expression in a pianoforte concerto and in