=The Typical Opéra Comique=.—There was, on the other hand, a development of a type more closely corresponding to the original scheme of the Opéra Comique. Strongly influenced by the romantic tendencies of the day, its romanticism by no means resembles that of the German school as represented by Weber and his followers. This, in its appeal to the deeper emotions by the idealization of nature and recourse to the supernatural, is thoroughly alien to the Gallic temperament, and had no appreciable effect on French composers. Gaiety and humor, freshness of invention, lightness of touch, elegance and finish characterize the true Opéra Comique. Its pathos never sinks below a certain sentiment which is skilfully used rather for the sake of contrast than from any persistent attempt at awakening the more somber feelings. The singer and the actor both meet with consideration; the former by sparkling melodies, expressive and grateful to sing, not over-burdened with the technical difficulties in which the Italian school abounds; the latter by a drama furnishing piquant situations, seasoned with wit and interesting in itself as a play. =Boieldieu, its Founder=.—As Méhul gave the impulse to the graver, more dignified style, so =François Boieldieu= (1775-1834) laid the foundation of the typical Opéra Comique, the most original and essentially national French operatic form. His _Jean de Paris_ (John of Paris) and _La Dame Blanche_ (The White Lady) placed him at the head of this school. The latter in particular, based on a curious combination of situations taken from two of Scott’s novels, “The Monastery” and “Guy Mannering,” has been sung the world over and still remains an unsurpassed example of the Opéra Comique in its best estate. =Auber=.—The most prolific composer in this style was =Daniel Auber= (1782-1871). Though he began as an amateur and after years spent in other pursuits, he outlived all his early contemporaries and became its most widely known representative. With one exception, to be noticed later, his works reveal the salient characteristics of the school—freshness and melodic charm, finesse of rhythm and instrumentation, delicacy and refinement rather than power and depth. His most popular opera, _Fra Diavolo_ (1830), has been sung on all stages and in almost all languages. Others less known but equally meritorious are _Le Maçon_ (The Mason and the Locksmith), _Le Domino Noir_ (The Black Domino) and _Les Diamants de la Couronne_ (The Crown Diamonds.)