The most widely known English composer of the nineteenth century is, of course, Sullivan (1842). This renown has been won by virtue of a unique talent for writing comic operas that are gems of the first water. On the other hand, Sullivan has again and again revealed his latent powers for composition in serious vein. Had he elected to consecrate himself to the nobler form of art, he might have become the greatest of all English composers. As it is, he has done much for the cause of Anglicized music and especially of Anglicized orchestration. The author of no less than fifteen operettas that are famed in England, America, and to a lesser degree in Continental Europe, he has clothed these works in charming orchestral garment. The instrumental combinations at his command were small, but he was never at loss how to use them to best advantage. It was his peculiar custom to postpone the orchestral scoring until all modifications as suggested by preliminary rehearsals had been decided upon. Taking the "Mikado" as a favorable example, it is seen that the local coloring demanded by the setting depends chiefly upon the orchestra. The quaint opening chorus for men at the very beginning of the operetta proves the truth of this statement. Sullivan based his methods of instrumentation upon those of Mozart, but occasionally copied Gounod and even Berlioz. When, however, Sullivan employs larger orchestral forces, his musicianship, dramatic power and command of resource seem to expand in proportion. Notable illustrations of original and effective scoring are to be found in his representative oratorios and above all in his grand opera "Ivanhoe." John Bridge (1844) displays sound scholarship in a respectable list of sacred music, cantatas and orchestral works, but his attainments cannot be compared with those of Mackenzie (1847). The latter is first and foremost an orchestral writer, in fact one might say that his conceptions are wholly orchestral. His is the realm of realism rather than of idealism. His style reveals no great depth or pathos. There is a mixture of Mendelssohnian and Wagnerian externals. His melody has been styled angular; his harmonic structure is inefficient, and his rhythm monotonous. Mackenzie's orchestration, however, is unusual. Its many excellences afford a striking contrast to the mediocrity of subject-matter. It is powerful and effective, allowing also commendable freedom to the wood-wind. Some interesting passages for flute and oboe in combination with low clarinet arpeggio effects are contained in the cantata "The Story of Sayid." Among Mackenzie's most notable achievements should be mentioned two operas, two Scotch rhapsodies, and his magnum opus, a dramatic oratorio entitled "The Rose of Sharon."