Cherubini’s orchestration was broad and fine and his overtures were classic models. He seemed to have followed Mozart’s style rather than Gluck’s and joined the classic style with the modern. He had vigor, and was free from mannerisms, and was looked upon as a great man. As the head of the Paris Conservatory he was able to befriend many a struggling composer. He died after a long useful life, at 82. His _Medée_ and _The Water Carrier_ (_Les deux journées_) mark the greatest accomplishment in his life—both are tragic yet are _opéra comique_ because they contain spoken dialogue. Remember this instance of tragic _opéra comique_ and it will explain how it differs from what we call comic opera. FOLLOWERS OF GLUCK Following the time of Gluck in Paris there was a group of composers who were so much influenced by him that they are looked upon as his disciples. One of these was his own pupil, Antonio Salieri (1750–1825), who in turn taught Beethoven, Schubert and others. One of the links between the 18th and 19th centuries was Etienne Nicholas Méhul (1763–1817), a Frenchman, who worked with Gluck. He dared to take his themes from life and wrote _opéra comique_ with a serious aim. Even though he lived in the turbulence of the French Revolution, he wrote thirty operas, among which the greatest is _Joseph_. He was made inspector at the new Conservatory and also an Academician, and was one of the most loved composers of his day. He was often noble in musical expression and handled his chorus and orchestra with skill. He wrote little of anything but opera, but pointed the way for others, especially in the use of local color and national feeling. The next follower of Gluck, Gasparo Spontini (1774–1851), born in Italy, of peasant stock, was one of the first to write historic opera, which was further developed by Meyerbeer and others. Technically, this is known as French Grand Opera, which was being developed at the same time as _opéra comique_. It appealed to hearts and imagination, for the people loved the great scenes and patriotism portrayed. Spontini first went to Paris in 1803 and the people did not like his work. But he persisted, studied Gluck and Mozart as hard as he could, and produced _Milton_, which showed the public that his work had some beauty. After this he wrote _La Vestale_, a noble work which swept him into favor and he won a prize offered by Napoleon and judged by Méhul, Gossec (a composer), and Grétry. Weber, however, while Spontini was absent came to Paris with _Der Freischütz_, and took his place in the hearts of the people. Cast down by losing his popularity, Spontini returned to Italy. His musical ability was not equal to his great plots, yet, as the first writer of historic opera he deserves a place in the growing up of musical drama.