It is proper that the compositions of CHERUBINI (1760-1842) be treated apart from those of his contemporaries, for they are in many respects distinct by themselves. The fact that he was born in Italy bears little relation to the style of his productions, for only in his earlier works are Italian methods particularly noticeable. The name of Cherubini has become immortal chiefly on account of his church music, of which he is the first truly great modern master. Nor must his permanent influence upon the form of French opera be underestimated, notwithstanding the fact that his own operas were only moderately successful. For the Gluck-Piccini controversy impressed him deeply; moreover, Mozart's operas were at that time already exciting world-wide admiration. As a result of these powerful influences, Cherubini was led to combine both the German and the French styles, as exemplified in "Lodoiska"; and henceforth the drama of France may be said to have acquired permanent and definite form. The chief characteristics of his church music consist of a fusion of the elevated style of the sixteenth century, a severe yet masterly contrapuntal treatment, and withal a remarkable clearness in form and details. These models of sacred writing which belong, perhaps, more particularly to the French school, are convincing proof that so-called antiquated principles can be assimilated into modern methods. Lavoix calls attention to the criticism that whereas Cherubini's operas were not sufficiently dramatic, his church music was too much so. This may be true; but the purity and nobility of subject-matter, the warmth and breadth in instrumentation, counteract any possible theatrical tendencies.