He had brought back a pulmonary trouble from Russia, and his disappointment seemed to aggravate the disease. He gave up his position at the Conservatoire, feeling too weak to continue teaching. The director of the _Opera Comique_ had given Boieldieu a pension of 1200 francs for his great services to the art, but the expulsion of Charles X. now came about, a new direction was installed, the institution was found to be bankrupt, and the income from this source ceased just when it was most needed. He had married again in 1827, and this time the union was a fortunate one, for in these final days of trial, sickness, and pecuniary difficulty, his wife sustained his drooping spirits with unswerving fidelity. She was a singer, Philis by name, and was the mother of Boieldieu’s only son, a composer of good attainments, but overshadowed by his father’s ability. Finally Louis Philippe was established on the throne of France, and his minister, M. Thiers, made speedy recognition of the value of Boieldieu’s work by granting him an annual pension of 6,000 francs. It could not give back the composer’s health, however, and, after a tour to Pisa he came back worse. He had been obliged by poverty to take back his old position at the Conservatoire, and made a brave effort to continue in it, but it was useless; in another tour in hopeless search for health, he died at Jarcy, October 8th, 1834. At the tomb his old companion and teacher, Cherubini, gave a last tribute to the modest and talented nature that had passed away so prematurely. Boieldieu may be summed up in a single phrase as a Parisian Mozart. He had Mozart’s gift of melody and grace, and in his later years something of Mozart’s skill in harmonic and contrapuntal combination, but, unlike Mozart, his work can be divided into three epochs, the third only being comparable in _ensemble_ to the works of the German master. Boieldieu has been ranked as the best composer of _opera comique_ that France ever produced, and it is not too much to say that only Bizet has approached him in characteristic touches and poetic inspiration. Three works are at present the chief representatives of Boieldieu’s fame, “The Caliph of Bagdad,” which shows his earliest method, “Jean de Paris,” which is a good example of his second period, and “La Dame Blanche,” which is the finest of all his operas, the best outcome of the French _opera comique_ school, and shows the composer in his third and best period of growth.