GOUNOD stands as the most illustrious recent representative of lyric opera and exhibits the unusual attribute of attaining excellent results without apparent effort. His scoring follows the general path indicated by Auber and Meyerbeer, but it further shows that he possessed a considerable knowledge of the German science of instrumentation. SAINT-SAËNS is the greatest living French composer and the mightiest of her orchestral exponents. The fundamentals of his artistic principles differ but slightly from those of Thomas and Gounod, and the outlines of Meyerbeer's operatic forms are also in evidence in his works. Nevertheless, Saint-Saëns discloses involuntary leanings toward Wagner. His symphonic poems, though not of the same magnitude and significance, are nevertheless clearer and more compact than those of either Berlioz or Liszt. Admirable clearness as well as simplicity of treatment characterizes his chamber music. His orchestration is elaborate, rich and varied,--intricate, at times, without being obtuse. It invariably reveals the soundest of judgment in the deployment of large or small orchestral forces. It is alternately scintillating, impassioned, melancholy, heroic. Among other details, his scoring frequently makes requisition for triplets of wood and brass instruments, and embodies the best traits of all contemporary orchestral writers both native and foreign. BIZET followed the prevalent custom of building upon French traditions, enhanced by German truthfulness of expression and interpretation. He possessed a rare talent for discovering novel traits of instrumentation together with variety of rhythm and tone-color. CHABRIER'S representative work "Gwendoline" may be rightfully looked upon as the most advanced exposition of existing Franco-German music dramas. Much of his orchestration suggests a progressive yet peculiar phase of Wagnerism enveloped by a tinge of melancholy and softened by the delicate touch peculiar to the French. MASSENET appears at his best as a dramatic writer. His endowments embrace highly developed feeling for sensuous charm, a style distinctly poetic, and a manner of orchestration both rich and varied. * * * * * French art during this era has been further assisted by the sterling achievements of many secondary composers such as Dubois and Paladhile; by the orchestral expounders: Gevaërt, Lavoix; by the literary champions: Vidal, Benoit, Joncières; by the organist-composers: Guilmant, Widor; by the representatives of the fair sex: Augusta Holmès, Cécile Chaminade; and by the most recent aspirants to fame: Charpentier and Debussy. * * * * *