One of the foremost of them to-day is the Countess Gilda Ruta. She was born at Naples, and was the daughter of a musician of some note, in fact, he became one of her best teachers. Among others with whom she studied was the opera composer, Mercadante, whose long career extended well into the last century. She became a pianist of great renown, but won her laurels more in the field of composition. Her opera, "The Fire-Worshippers," is a worthy example of its school. Her orchestral ability showed itself also in the form of a concerto for piano, while among her other works are a number of songs and a good deal of instrumental music. Eva Dell' Aqua is another Italian woman who has won a high position by her works. She did not inherit the taste directly, for her father was not a musician, but a painter. He has made Brussels his home, and there his talented daughter has brought forth her compositions. Her songs are widely known, and show sterling merit. In more ambitious vein is her operetta, "La Bachelette," which was given with unusual success in the Brussels theatres. Another work for the stage is the comic opera, "Tambour Battant." Carlotta Ferrari is undoubtedly the greatest of the Italian women composers. Born at Lodi in 1837, she soon began her musical studies, completing them with the best masters of the Milan Conservatory. When she tried to enter the lists in dramatic work, she found the theatre managers unwilling to give her any encouragement because of her sex. Feeling sure of her ability, however, she was brave enough to hire a theatre, and produce her opera, "Ugo," at her own expense. The result justified her hopes, for the work scored an entire success. Since that time she has had no trouble in dealing with the managers, who may well feel ashamed of their early fears. Her later operas, "Sofia" and "Eleonora d'Aborea," were as warmly received as her first attempt. Her work is by no means limited to the stage. She has produced an excellent mass, which was written for the cathedral of her native town. The impression made by this work was so favourable that she received two commissions from the Turin authorities, at later times, one for a requiem and the other for a cantata. She is said to be an absolute master of canon, or the imitation of one part by another. Among her smaller works are two sets of these canons for three voices and piano. One of the earlier composers was Maria Teresa Agnesi, who flourished in the eighteenth century. Like many of her sex, she was a pianist as well as a composer. She worked in the larger forms, and her four operas met with decided success in many cities of her operatic land. Besides operas, she produced several cantatas and other choral works, and a number of concertos, sonatas, and pieces for the piano.