From Italy the opera found its way into other countries with varying results. In England it took early root, and assimilated itself with the earlier _masques_ which were played at Whitehall and at Inns of Court. In the early productions in this country, however, the music was merely incidental. During the Commonwealth, an opera entitled "The Siege of Rhodes," composed by Dr. Charles Colman, Captain Henry Cook, Henry Lawes, and George Hudson, was performed in 1655, under the express license of Cromwell. Purcell seems, however, to have been the first to see the possibility of a national English opera;--his music to Dryden's "King Arthur," and to the "Indian Queen," is considered very beautiful; "his recitative was as rhetorically perfect as Lulli's, but infinitely more natural, and frequently impassioned to the last degree; his airs are not in the Italian form, but breathe rather the spirit of unfettered natural melody, and stand forth as models of refinement and freedom." "The Beggar's Opera," set to music by Dr. Pepusch, and Dr. Arne's "Artaxerxes," a translation from Metastasia's libretto, adapted to melodious music, were deservedly popular, and long retained a place on the stage. Nevertheless, when the Italian opera became an institution in England, the national opera made no further progress. During the last few years the former seems to have practically died out in England, and it remains to be seen in what form the English opera will revive and flourish once more as a national product. We have good promise in the works of such musicians as Balfe, Wallace, Sterndale Bennet, Sir G. A. Macfarren, Dr. A. C. Mackenzie, Sir Arthur Sullivan, Mr. C. V. Stanford, and others.