The orchestra is much used in Cherubini's sacred works. The orchestration is flexible and vivid; each instrument is treated judiciously, and the tonal color is ever sonorous and varied. Prout refers to the Requiem in C minor as being a splendid piece of sombre tone-painting, and masterful in its appropriateness. The opening chorus is remarkable for its pathos, being scored for divided violas and 'cellos, double-basses, two bassoons, two horns and muffled kettle-drums. In the introduction to the "Chant sur la Mort de Joseph Haydn," an extended passage for four violoncellos _con sordini_ proves that Rossini was not the first to discover the value of their independent employment. In the same work, one of Wagner's procedures in the use of the bass-tuba is anticipated in that the opheicleide is detached from its usual alliance to the trombones, and is employed alone as a reduplication of the double-basses. Cherubini was conservative in the use of the brass, although in isolated cases, where special effects were needed, larger choirs of loud-voiced instruments are, of course, to be found. As an example, the mass in A calls for four horns, three trombones, and an opheicleide. On the other hand, the instrumentation of Cherubini's operas shows greater reserve, and in one or two cases, entire acts are effectively scored without once drawing upon either trumpets or kettle-drums. It might be added that an interesting example for English horn is to be found in "Anacréon"; that the instrument was as yet but rarely heard in France is demonstrated by the fact that Cherubini felt it necessary to write "clarinet _ad libitum_" under the English horn part. III. MÉHUL (1763-1817) ranks among the greatest evolutionists of French instrumentation. His talents developed at an early age; his career was one of steady progress, and culminated in "Joseph," one of the loftiest dramatic works France possesses. Following in Gluck's footsteps, he emphasized the value of declamation and made much use of melodrama. The operatic overtures also were carefully developed. Although his orchestration was somewhat heavy, and embodied the frequent repetition of certain stereotyped formulas, he proved himself a worthy successor to Gluck in the successful portrayal of dramatic personages by means of instrumental expression. Much of his music is decidedly picturesque even though his instrumentation is lacking in daintiness. The distinctive features of Méhul's orchestration are sonority, novel combinations, and at times a certain melancholy coloring. The earliest use of low string effects is attributed to him, and especial prominence was given to the viola. As is well known, his opera "Uthal" is unique in that violins are absent throughout the entire work. The harp is an important factor in both "Uthal" and "Joseph." Méhul showed considerable partiality for the brass, and more than once, four horn parts are to be found in his scores.