[Footnote 222:  The following information was given by M. Vincent d’Indy at a lecture held on 20 February, 1903, at the Ecole des Hautes Etudes sociales—­a lecture which later became a chapter in M. d’Indy’s book, Cesar Franck (1906).]

Among those who received his direct teaching[223] were Henri Duparc, Alexis de Castillon, Vincent d’Indy, Ernest Chausson, Pierre de Breville, Augusta Holmes, Louis de Serres, Charles Bordes, Guy Ropartz, and Guillaume Lekeu.  And if to these we add the pupils in the organ classes, who also came under his influence, we have, among others, Samuel Rousseau, Gabriel Pierne, Auguste Chapuis, Paul Vidal, and Georges Marty; and also the virtuosi who were for some time intimate with him, such as Armand Parent and Eugene Ysaye, to whom Franck dedicated his violin sonata.  And if one thinks, too, of the artists who, though not his pupils, felt his power—­artists such as Gabriel Faure, Alexandre Guilmant, Emmanuel Chabrier, and Paul Dukas—­one may see that nearly the whole musical generation of Paris of that time took its inspiration from Cesar Franck.  And it was largely with the intention of perpetuating his teaching that his pupils, Charles Bordes and Vincent d’Indy, and his friend, Alexandre Guilmant, founded in 1894, four years after his death, the Schola Cantorum, which has kept his memory alive ever since.

“Our revered father, Franck,” said Vincent d’Indy, in a speech, “is in some ways the grandfather of 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: