There are, however, merits in "Salammbô" which entitle it to a better fate than befell it in New York. The people in the story have marked dramatic physiognomies; indeed, had M. Reyer's skill in characterization been half so great as M. Flaubert's, and M. du Locle's, there would have been much to praise in the work. The characters are admirably drawn, and show as much individuality in their intellectual and moral traits as they do in their physical--the crafty Greek, the treacherous Numidian, the energetic and manly Carthaginian, the storm-tossed heroine, and the lovelorn Lybian are good dramatic types, even if stamped with stage conventions. A genius in musical characterization, like Mozart, Wagner or Verdi, would have found means for making their utterances as picturesque as their presences; but this was beyond the powers of Reyer. His tastes are modern, his aims far above the frivolity which afflicts some of his colleagues, but his abilities do not keep pace with his ambition. His models are easily found; he clasps hands most warmly with Berlioz, and has some of the Frenchman's peculiarly Gallic reverence for Spontini and Gluck. There are indications in the score that "Les Troyens" occupied much of his attention while he was engaged upon it, and I fancy that that ambitiously planned, but star-crossed work, was also familiar to the librettist. This need not excite special wonder, for the association of ideas was close enough. The second part of Berlioz's tragedy is also Carthaginian, and ends with Dido's prophetic vision of the hero who should avenge her wrongs on Rome. That Reyer also venerates Wagner but shows itself more in the use of the German master's harmonic progressions than in the adoption of his methods. He adopts the device of reiterated phrases, but his purpose in doing so I could not discover. Two short melodies, which are the themes of his brief instrumental introduction, are brought forward again and again, but fail to disclose their relationship to any of the agencies or elements in the story, and without a sign of that organic development which is the distinguishing characteristic of Wagner's creative style. Reyer's orchestration is discreet and free from all taint of that instrumental Volapük which is so marked in the Young Italian school. His subject invites the use of Oriental intervals, and he employs them with the discretion which is noticeable in "Aïda," but not with Verdi's effectiveness. Some of his devices are admirable, others simply bizarre. As a whole the music is monotonous in character and color, but it is dignified and earnest, and for this it deserves praise.