It will take but a few words to conclude the record of musical activity displayed by the recent representatives of the Latin races. They have done practically nothing for the cause of orchestration other than to branch off into infrequented by-ways that have necessitated corresponding orchestral treatment. These final remarks must therefore deal not with the subject of instrumentation proper, but rather with the æsthetic and philosophical aspect of modern Italian music, the influence it has exerted, and the direction it is taking. Ponchielli (1834) owes a foreign reputation to his opera "Gioconda," but endeared himself to his countrymen not alone as a dramatic writer but also as the author of the "Garibaldi Hymn," written in 1882, four years before his death. He enjoyed the reputation of being the greatest modern composer of Italian opera after Verdi. Since the Brazilian, Gomez (1839), practically adopted Italy as his home, he is mentioned in this connection. He was a painstaking composer, but his music frequently reminds one of Verdi's, whose ardent admirer he was. Boïto (1842) possesses not only the talents of an excellent composer, but of a highly gifted poet as well. He was the first prominent Italian to accept without reserve the fundamental principles governing the Germanic music drama, and thus became the head of the Wagnerian party in his own country. His "Mefistofele" did not succeed without a struggle, but it is now accepted as a standard opera of universal fame. The orchestral efforts of Sgambati (1843) are analogous to Boïto's adaptation of exotic principles bearing on operatic forms. To Sgambati belongs the honor of being the first Italian composer of the nineteenth century devoted to purely instrumental music and large orchestral forms. Already in his youth he attracted attention in consequence of an interesting pianoforte quartet. His structural form, moulded on classic lines, is logical and well proportioned, nor is it devoid of distinctive characteristics. His music embodies clear melodic delineation and free harmonization. The orchestration is, however, its best feature. It displays sound judgment, sentient appreciation for variety, contrast, and tone-color; these results are, moreover, attained by means of a comparatively small orchestra. Concert overtures, chamber music and the like are comprised in the works of Buonamici (1846) who was a pupil of both von Bülow and Rheinberger. His chief claim to recognition, however, like that of Puccini, depends upon his dramatic effects, which have attracted considerable attention. At the present moment Puccini is generally regarded by his countrymen as the foremost living Italian composer. His orchestration is rich and full, but his music, in spite of its pleasing melody and impassioned utterance, betrays the influence of Ponchielli who in turn drew inspiration from Verdi.