The works of HALÉVY (1799) present a perplexing composite of genuine art and sensational trivialities. Frequently carried away by desire for pomp and effervescent personal glory, he nevertheless gave the art of dramatic scoring a powerful impetus toward modern methods. His instrumentation is often like Meyerbeer's, and Rossinian tendencies are apparent as well. Nevertheless, his pages are imbued with his own individuality. Each instrument received characteristic treatment when not used in massed harmonic combinations. The strings were employed with much skill and variety, as exemplified, for instance, by phrases for violins alone in four parts, or for solo 'cellos in five parts. The former idea bears the germ of Wagner's subsequent ethereal string passages, whereas the latter corresponds to Rossini's familiar 'cello scoring in "Guillaume Tell." The wood-wind played an important part as dramatic interpreter, with especial attention to the expressive characteristics of the English horn and the clarinet. Above all, Halévy was an untiring advocate in behalf of improving and supplementing both the variety and functions of the brass, and was strongly in support of the newly invented instruments of Sax. As components of the orchestra proper, they were not used aggressively, although, of course, when they appeared as an independent cohort upon the stage itself, their united efforts inclined toward the bombastic. Halévy was among the first to employ a second couplet of valve horns in addition to the customary natural horns, and the manner of writing for them displays a marked departure from previous usage. Besides absorbing into the orchestra proper different varieties of sax-horns and especially the sax-tuba, he employed at times as many as eight trumpets. A part for a soprano trombone is likewise to be found in one of his scores. "La Juive" is the embodiment of Halévy's higher ideals and novel orchestral combinations, and among other interesting details of instrumentation, the employment of two English horns, the trombone solo in the fourth act, and the semi-military band on the stage will readily be recalled. V. Brief mention is due to the "historic school" which found its first exponent in SPONTINI (1774-1851). The tenets of this school were in sympathetic accord with the general desire for pomp attendant upon the ascendency of Napoleonic imperialism. And Spontini's masterpiece "La Vestale" entirely satisfied these demands. For in spite of many glaring defects, it is a worthy example of superb dramatic power. In this work, a new style of orchestration was inaugurated, one that has been more or less imitated by all French writers since his time. Spontini transplanted into serious opera a principle with which already Piccini and Paesiello had experimented in their lighter operas, in that, for the description of certain picturesque episodes, the orchestra appears as chief exponent, the voice as secondary.