(NATIONAL), OF FRANCE.** After the suppression of all royal and literary societies in France during the Revolution, a decree of the Year III. of the new calendar ordained that there should be a National Institute. It was appointed for the purpose of perfecting the sciences, publishing discoveries, corresponding with learned foreign societies, and pursuing such literary and scientific researches as should tend to the general good and the glory of the Republic. Of this association there were 144 resident members in Paris, 144 associates in different parts of the country, and 24 foreign. It was divided into three classes—1. Of physical and mathematical sciences, with 60 members resident in Paris, 60 associates in the departments, and 8 foreign. 2. Of moral and political science, with 36 members resident in Paris, 36 in the departments, and 8 foreign. 3. Of literature and the fine arts, with 48 resident members in Paris, 48 associates in the departments, and 8 foreign; in all 312. In addition to these, 20 citizens were to be appointed to travel in France and other countries to make scientific observations. The first public session of the institute was held 22d Germinal, Year IV. (1796). The administration of each class was vested in a president and two secretaries. In 1803 the constitution of the society was changed by Bonaparte, then first consul, who suppressed the second class, that of moral and political science. The whole number of classes was then increased to four—1. The physical and mathematical sciences, corresponding to the Academy of Sciences which existed before the Revolution. 2. The French language and literature, which corresponded to the French Academy. 3. Ancient history and literature, which corresponded to the Academy of Inscriptions and Belles Lettres. 4. The fine arts, corresponding to the Royal Academies of Painting, Sculpture, Architecture, and Music. For the first class the number of resident members in Paris was 63, and 100 correspondents; for the second class 40 members; for the third, 40 resident members, 60 correspondents, and 8 foreign associates; and for the fourth class 28 resident members, 38 correspondents, and 8 foreign associates. In the beginning of 1804 the temporary secretariatship was made perpetual, and the five now appointed to the office retained it till the re-establishment of the academies in 1816 as before the Revolution. In 1805 an imperial decree issued a commission regarding the Dictionary of the French language. In 1806 the society changed its name to "The Institute of France." In 1808 Napoleon demanded an historic statement of all the progress that had been made in each class since 1789. In 1811 the name of the association was changed into the "Imperial Institute."

In 1816, upon the restoration of monarchy, the four classes resumed their ancient appellation of Academies. In 1832 the class of moral and political science, which had been suppressed by Napoleon, was revived by Louis Philippe. It consisted of five sections till the present Emperor added a sixth by two decrees of the 14th April 1855. For this new section, devoted to Politics, Administration, and Finances, ten members were nominated. The same decrees instituted a triennial prize of the value of 10,000 francs for the work or discovery which the classes should deem of most importance to the country. Several of the appointments, such as for the management of the library, &c., are at the disposal of the minister of public instruction, who presents to the Emperor an annual account of what is done by the Institute. There are thus five classes or academies, from each of which two persons are chosen to manage the finances of the Institute. New members are appointed by ballot. Each has a salary of 1500 francs. Those neglecting to attend are liable to fine and expulsion. The institute now consists of 223 members, 31 associates, 228 correspondents, 7 secretaries, and 35 free academicians. Each academy distributes annual prizes for merit in its own department. Thus there is a prize of 2000 francs for poetry, 2000 for the best work on French history, &c. See ACADEMY.

**INSTRUMENTATION,** in Music, signifies, in a general sense, the manner in which the different musical instruments in a piece of music are arranged and employed. The different powers and qualities of the instruments, their relative pitch, &c., must all be consulted in producing a good instrumentation, whether in a piece composed for instruments only, or in an instrumental accompaniment to vocal music. A true balance of power must be maintained among the different instruments, otherwise the clearness and brilliancy of the harmony will be destroyed, and the effect confused and unsatisfactory. The best models of judicious instrumentation are the compositions of Haydn, Mozart, Beethoven, Cherubini, Weber, and Mendelssohn. See MUSIC, §§ Accompaniment and Orchestral Music. (G. F. G.)