it of the times, Masaniello having been leader of the
insurgents in Naples. The work well deserved its success, since for
melody and pleasing effects it has rarely been surpassed. The overture
is still much played as a concert number, but the opera itself has
nearly left the stage, excepting in Germany, where it still has a
distinguished place. All his later works were lighter than
"_Masaniello_." They were "_La Fiancee_" (1829), the extremely
melodious and popular "_Fra Diavolo_" (1830) and many others, for more
than twenty years still. Among them were "The Bronze Horse" (in 1835),
"_Le Domino Noir_" (in 1837), and "The Crown Diamonds" (1831). Auber
was elected member of the Institute in 1829, and in 1842 succeeded
Cherubini as director of the Conservatory. He was an extremely witty
and charming man, beloved by all.

Contemporaneous with Auber, but more allied to the genius of
Boieldieu, was Louis Joseph Ferdinand Herold, (1791-1833). After
studying at the Conservatory and composing a number of operas which
failed, or had but moderate success, he brought out "_Zampa_," in
1831. This work had an extraordinary success, and its overture is
still often heard. Another work "_Le Pre aux Clercs_," (1832), is
generally esteemed in France more highly than "_Zampa_," but outside
of his native country public opinion universally regards the latter as
his best work. Herold's operas are extremely well conceived from a
dramatic point of view, and his melody has much of the sweet and
flowing quality of the best Italian. His concerted numbers also are
well made, and in all respects he is to be regarded as a master of
high rank within the province of light opera, verging indeed upon the
confines of the romantic type, like that of Weber.

The true successor of Boieldieu, with perhaps somewhat less of
originality, was Adolphe Charles Adam, (1803-1856), son of a piano
teacher in the Conservatory at Paris. His most lasting work was "_Le
Postillon de Lonjumeau_" (1836), in which the German tenor Wachtel
made himself so famous. Most of the other productions of this clever,
but not deep, composer, are now forgotten. In their day they pleased.

The most important work of the last half century of French opera was
the "_Faust_" of Charles Francois Gounod (1818- ), produced in 1859.
Gounod was born and educated at Paris, took the prize of Rome in 1837,
after composing quite a number of works of a semi-religious character,
in which direction he