LESUEUR (1763) has been called the predecessor of Berlioz as an exponent of "program" music. He was fond of grand and majestic combinations, but was artistically more successful in writing for the church than for the drama. He was fortunate in having under his control a large orchestra at the Notre Dame, and his contributions to French instrumentation in detail are important. He frequently multiplied the violin parts into four, and even divided the violas. Again, the violins were at times omitted, although he did not go to the extent of leaving them out through an entire work as Méhul did in his opera "Uthal." Lesueur may have indirectly influenced Wagner's scoring of the tetralogy in that twelve harps, divided into two sections, are required for a faithful rendition of "Les Bardes," and in a footnote he specifically exacts a predominance of harp quality of tone. Like many of his subsequent compatriots, he frequently made requisition for curious instruments of percussion. IV. In turning to the works of BOIELDIEU (1775-1834), we find therein a refreshing example of naïveté, spontaneous originality, and flowing melody. Italian tendencies are noticeable, but the style remains pure and distinctly French. Though "La Dame Blanche" does not contain the attributes of profound scholarship, it satisfies in full the requirements of refined and poetic French comedy. Schumann regarded some of Boieldieu's creations as the representative comic operas of the world. His orchestra is not large and it is rarely used in its entire strength. The key-note is dainty scoring; the singing can always be distinctly heard, and although few novel effects of instrumentation are to be noted, variety and contrast of tone are constantly to be met with. The accompaniment is ever appropriate, and especially the clarinet and horns receive characteristic treatment. Moderation in the use of the brass was carried to such an extent that trombones are frequently omitted altogether, and even in "La Dame Blanche" only one was employed. In one opera not even trumpets and kettle-drums are to be found. The founder of the lyric drama in the modern sense was AUBER (1782-1871). The pillars of modern lyric drama are genuine dramatic expression, varied resources, and extensive proportions. Add to these charming melody, sparkling instrumentation and piquant coloring, and we have the sum total of Auber's creations. He was, perhaps, the most typically French composer that ever lived, and yet his orchestration is not that of an innovator. He accepted the already existing French and Italian characteristics of instrumentation, but adapted them to the needs of his poetic instincts. The functions of his orchestra are essentially those of accompaniment, and the dramatic situations are lightly sketched rather than elaborately portrayed. And this lightness of touch, together with grace and elegance, is already to be found in "La Muette de Portici," as well as in the more popular "Fra Diavolo."