The excellence of the school, thus defined as to its peculiar character, and thus denoted as to its origin, none will probably be disposed to deny, who are conversant with the general state of instrumental performance at the present time. Adverting again to the question of _composition_, we may assert, and that also on M. Choron’s authority, that the French have only been imitators, although they are not without names of some celebrity there likewise. M. Castil-Blaze,[44] in a passage wherein he takes a rapid glance at a few of the French violinists, presents us with a tolerable notion of the characteristics of the French system, both as to playing and writing:—“Kreutzer excels in voluble touches, whether continuous or detached into pointed notes. Rode is distinguished by traits of _coquettish_ character, as well as by a free vocal effect conveyed by full notes, whose whole charm is in the quality of the tone. Lafont exhibits an admirable shake, with much grace and refinement in his style. Baillot dazzles in rapid passages, and surprises by the boldness of his double-stringed effects, and the magic of his bow.” Here we find, albeit expressed in the most favorable terms, far more of the pretty and the glittering, than of the solid or the elevated. “Each of these masters,” continues M. Castil-Blaze, “has lavished upon his compositions those peculiar traits which he most affected, and has made sparing use of such as were remote from his own style of execution. It is certain that those favorite traits would not come beneath his hand, in equal proportion, in a composition of Viotti’s; nay, he would there meet with some that would not admit of his displaying all the extent of his resources, &c. It is therefore indispensable that the virtuoso, who desires to show himself in the most favorable light, should compose his own music, or, at least, should direct him who is charged with its composition.”—This, it needs scarcely to be observed, may be well enough calculated to favor the triumphs of individual vanity, by giving prominence to mechanical dexterity; but it is obviously not founded on a regard for the higher principles of art. Having glanced at the great national Revolution, as to its agency in modifying French musical taste, let us give a momentary attention, likewise, to another influential agency—that of the _Conservatoire de Musique_—an institution which has done much, during the last half century, to foster and develop merit in the Art under consideration. M. Castil-Blaze, in his work, “De l’Opéra en France,” thus notifies its origin and effects:—