f the _Schola Cantorum_; for it is his system
of teaching that we apply and try to carry on here."[224]

[Footnote 223: A complete list may be found in M. d'Indy's book.]

[Footnote 224 2: _Tribune de Saint-Gervais_, November, 1900.]

The influence of Franck was twofold: it was artistic and moral. On the
one hand he was, if I may so put it, an admirable professor of musical
architecture; he founded a school of symphony and chamber-music such as
France had never had before, which in certain directions was newer and
more daring than that of the German symphony writers. And, on the other
hand, he exercised by his own character a memorable influence over all
those who came into contact with him. His profound faith, that fine,
indulgent, and calm faith, shone round him like a glory. The Catholic
party, who were awakening to new life in France just then, tried, after
his death, to identify his ideals with their own. But this was, as we
have said elsewhere,[225] to narrow Franck's mind; for its great charm
lay in its harmonious union of religion and liberty, which never limited
its artistic sympathies to an exclusive ideal. The composer's son, M.
Georges Cesar-Franck, has in vain protested against this monopoly of his
father, and says:

"According to certain writers, who wish to reduce everything to a
dead level and deduce all things from a single cause, Cesar Franck
was a mystic whose true domain was religious music. Nothing could
be wider of the mark. The public is given to generalisations, and
is too easily gulled. They will judge a composer on a single work,
or a group of works, and class him once and for all.... In
reality, my father was a man of all-round accomplishments. As a
finished musician, he was master of every form of composition. He
wrote both religious and secular music--melodies, dances,
pastorales, oratorios, symphonic poems, symphonies, sonatas, trios,
and operas. He did not confine his attention to any particular kind
of work to the exclusion of other kinds; he was able to express
himself in any way he chose."[226]

But as what was really religious in him found itself in agreement with a
current of thought that was rather powerful at that time, it was
inevitable that this one side of his genius should be first brought to
light, and that religious music should be the first to benefit by his
work. And also one of the early manifestos[227]