182 THE FINE ARTS. 
Messrs. Fischer, Gerstacker, Wild, Haizinger, Bader, Vetter, Martius, Ti- 
chatschek, and others, have rendered German song celebrated not only in 
their native country, but likewise in the rest of Europe. 
French music, with the exception of the popular songs, is altogether an 
offshoot from that of Italy; and before Louis XIV. there was not a single 
French composer of reputation. The idea that it was possible to have a 
French opera had its birth under Mazarin; in 1560 Lambert set to music 
the libretto of a French opera by Perrin, and Lully first forsook the Italian 
manner in his compositions in 1677. His successors were Destouches, 
Monteclair, and Lalande, then Rameau and his successors Rebel, Francceur, 
Berton, &c. A brief applause was gained by the Italian-sounding pieces 
of Pergolese and the mongrel style of Rousseau. About 1760 Philidor and 
Monsigny appeared ; and these were followed by Grétry and the German 
Gluck, who introduced a severer style into music. He was opposed by the 
Italian Piccini; and thus there were formed in France two widely opposite 
schools, the Gluckists and Piccinists. But soon by the efforts of the Germans, 
as Kreuzer, Herold, and others, German music came to be much esteemed, 
although the Italian always remained a great favorite. French music pro- 
perly so called was not called into existence till after the establishment of 
the Conservatory in 1793; but from that time we meet with composers of 
note, as Méhul, Boildieu, Dalayrac, Le Sueur, Isouard, Paer, and many 
others. But it is in the 19th century that French music has attained the 
summit of its excellence; and the names of Auber, Halevy, Meyerbeer, 
Adam, Monpou, Ruolz, &c., denote the representatives of the French style. 
The chansons have been especially cultivated by Panzeron, and dance- 
music by Musard. In chamber and concert music Cherubini, Aimon, and 
Habeneck have distinguished themselves ; and the last-mentioned especially 
has done much to render Beethoven and German music in general appre- 
ciated in France. Church music, however, has never yet met with any 
great success in that country ; the French have but few organs, and accom- 
pany their psalmody with brass instruments. Choral singing is unknown ; 
but sacred texts are often sung to opera melodies, and artists frequently seek 
to shine in the church. France is by no means deficient in performers ; but 
the violin and the piano-forte are the favorite instruments and those most 
cultivated. We will mention here Baillot, Lafont, Beriot, Vieuxtemps, 
Chopin ; the flutist Drouet; the violoncellist Servays; and among singers 
Nourrit and Cinti-Damoreau. 
2. Tae Dramatic ART. 
The art of representing a dramatic poem to the eye by means of living 
personages is called the Dramatic or Scenic Art; and it requires a most life- 
like impersonation by the aid of costumes, masks, and mimicry, an accurate 
conception of the character to be represented, a power of penetrating into 
the thoughts and ideas of the poet, a suitable delivery, and lastly an accu- 
rate adaptation of the scenery to time and place. 
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