Spontini embodied the same influences and characteristics in still
larger degree, for his musical genius was organized on a more massive
plan. Deficient in pure graceful melody alike with Méhul, he delighted
in great masses of tone and vivid orchestral coloring. His music was
full of the military fire of his age, and dealt for the most part with
the peculiar tastes and passions engendered by a condition of chronic
warfare. Therefore dramatic movement in his operas was always of the
heroic order, and never touched the more subtile and complex elements
of life. Spontini added to the majestic repose and ideality of the Gluck
music-drama (to use a name now naturalized in art by Wagner) the keenest
dramatic vigor. Though he had a strong command of effects by his power
of delineation and delicacy of detail, his prevalent tastes led him to
encumber his music too often with overpowering military effects, alike
tonal and scenic. Riehl, a great German critic, says: "He is more
successful in the delineation of masses and groups than in the portrayal
of emotional scenes; his rendering of the national struggle between the
Spaniards and Mexicans in 'Cortez' is, for example, admirable. He
is likewise most successful in the management of large masses in
the instrumentation. In this respect he was, like Napoleon, a great
tactician." In "La Vestale" Spontini attained his _chef-d'oeuvre_.
Schülter in his "History of Music" gives it the following encomium: "His
portrayal of character and truthful delineation of passionate emotion
in this opera are masterly indeed. The subject of 'La Vestale' (which
resembles that of 'Norma,' but how differently treated!) is tragic and
sublime as well as intensely emotional. Julia, the heroine, a prey to
guilty passion; the severe but kindly high priestess; Licinius, the
adventurous lover, and his faithful friend Cinna; pious vestals,
cruel priests, bold warriors, and haughty Romans, are represented with
statuesque relief and finish. Both these works, 'La Vestale' (1802)