]ur," which is reckoned her
best production. The Baroness Durand de Fortmague was successful as an
amateur, and her "Bianco Torello" and "Folies d'Amour" have been
frequently given. Mlle. de Sainte-Croix has written a number of
successful one-act operettas, which have been well received in the Paris
theatres. Mme. Amelie Perronet has won laurels in the same field, and
has written some popular chansonettes. Charlotte Jacques rests her fame
on a single work, "La Veille." Mlle. Gignoux has directed her talents to
the lyric drama, "La Vision de Jeanne d'Arc" being her most notable
work. Hermine Dejazet is another operetta composer. Mme. Gallois is
responsible for several ballets, besides songs and piano works, while
Hedwige Chretien-Genaro, a professor at the Conservatoire and a musician
of real worth, won much success with her "Ballet Oriental."

In the domain of choral music, Mme. Delaval, a famous harpist of the
eighteenth century, produced a cantata depicting the farewell of the
unfortunate Louis XVI. to his people, which met with much success, but
was naturally not a favourite in revolutionary France. She was also the
author of much good harp music and many songs. Marie Sophie Gay, born at
Paris in 1776, is credited with several cantatas, besides a good deal of
piano music. Marie Anne Quinault was another eighteenth century composer
who devoted her talents to the writing of motets and other church music.
The Comtesse de Saint-Didier, born in 1790, was an amateur whose
cantata, "Il Est Rendu," met with some success at Paris. In later times,
Mme. Helene Robert-Mazel, an excellent pianist, produced the cantata,
"Le Jugement Dernier," besides a number of interesting songs and a
valuable collection of children's vocal music. Cecile Derheimer was
another gifted composer who wrote a number of masses and other religious
music, while Mme. Alphonse de Neuville, widow of the well-known painter,
has composed a worthy mass, besides violin works and songs. These names
are enough to prove that French women could equal their English sisters
in this field, if the national taste demanded it of them.

With those who have written concertos should be classed Rosa La Roche,
who lived in the latter half of the eighteenth century, and published a
number of sonatas besides a successful piece for piano and orchestra.
Mlle. Lechantre, of the same period, composed a work that was only a
concerto by courtesy, for her orchestra consisted of two vio