The former stands as an exponent of serious opera, whereas the latter established _opéra comique_ upon a permanent basis. Rameau found a worthy successor in the great orchestrator, Méhul. Grétry was succeeded by Boieldieu, Auber, Hérold, Halévy. Meanwhile the orchestration of Italy did not keep pace with that of Germany or France. The Italians were primarily engaged in composing church music and in writing operas that should satisfy the existing demands for vocal virtuosity. Pergolesi was a notable exception. Even though the art of instrumentation had originated in Italy, no important evolutionist of orchestration can be mentioned between Scarlatti (1659) and Cherubini (1760); the latter is moreover identified with France rather than with Italy. Spontini, Rossini, and the German, Meyerbeer, likewise won their laurels in Paris. Cherubini and Spontini stand as the chief Italian exponents of orchestration during the classic era, the one for the church, the other for the drama. (5) The classic era overlaps the rise and growth of the "Romantic Movement," for the highest attainments of Beethoven, Auber and Rossini were not reached until after Spohr and Weber had already entered the lists. These two early romanticists were shortly succeeded by Schubert, Mendelssohn, Schumann, by the classical-romanticists, headed by Raff and Brahms, and by the originators of the New Movement, Berlioz, Liszt, Wagner. Recent development of differentiated types of orchestration discloses the unique fact that almost every country of musical prominence is represented by a single orchestral writer of unusual ability whose success was dependent upon the initiatory work of one single predecessor. Italy is represented by Spontini and Verdi, France by Berlioz and Saint-Saëns, Bohemia by Smetana and Dvo[vr]ák, Scandinavia by Gade and Grieg, Russia by Glinka and Tschaikowsky, Germany by Wagner and Richard Strauss.