the pictorial art in France. The pictures which attracted
the visitors most were: Delacroix's "Goddess of Liberty on the
barricades"; Delaroche's "Richelieu conveying Cinq-Mars and De Thou to
Lyons," "Mazarin on his death-bed," "The sons of Edward in the Tower,"
and "Cromwell beside the coffin of diaries I."; Ary Scheffer's "Faust
and Margaret," "Leonore," "Talleyrand," "Henri IV.," and "Louis
Philippe"; Robert's "Pifferari," "Burial," and "Mowers"; Horace Vernet's
"Judith," "Capture of the Princes Conde," "Conti, and Longueville,"
"Camille Desmoulins," and "Pius VIII" To enumerate only a few more of
the most important exhibitors I shall yet mention Decamps, Lessore,
Schnetz, Judin, and Isabey. The dry list will no doubt conjure up in
the minds of many of my readers vivid reproductions of the masterpieces
mentioned or suggested by the names of the artists.

Romanticism had not invaded music to the same extent as the literary and
pictorial arts. Berlioz is the only French composer who can be called in
the fullest sense of the word a romanticist, and whose genius entitles
him to a position in his art similar to those occupied by V. Hugo and
Delacroix in literature and painting. But in 1831 his works were as yet
few in number and little known. Having in the preceding year obtained
the prix de Rome, he was absent from Paris till the latter part of 1832,
when he began to draw upon himself the attention, if not the admiration,
of the public by the concerts in which he produced his startlingly
original works. Among the foreign musicians residing in the French
capital there were many who had adopted the principles of romanticism,
but none of them was so thoroughly imbued with its spirit as
Liszt--witness his subsequent publications. But although there were
few French composers who, strictly speaking, could be designated
romanticists, it would be difficult to find among the younger men one
who had not more or less been affected by the intellectual atmosphere.

An opera, "La Marquise de Brinvilliers," produced in 1831 at the
Opera-Comique, introduces to us no less than nine dramatic composers,
the libretto of Scribe and Castil-Blaze being set to music by Cherubini,
Auber, Batton, Berton, Boieldieu, Blangini, Carafa, Herold, and Paer.
[Footnote: Chopin makes a mistake, leaving out of account Boieldieu,
when he says in speaking of "La Marquise de Brinvilliers" that the opera
was composed by eight composers.] Cherubini, who towers a