This pleasing work belongs entirely to the Opéra Comique _genre_, and consists of a number of detached pieces connected together through the means of spoken dialogue. In writing it Gounod evidently did not trouble himself about questions of operatic reform, but was content with filling in the framework provided for him, and allowing his ideas to flow naturally. There is nothing forced in this melodious little opera. Everything is pure and limpid as crystal. Putting aside all æsthetic considerations as to the somewhat old-fashioned form in which the composer's ideas are expressed, it is impossible not to feel charmed by their refinement and delicacy. "La Colombe," a little comic opera given at Baden in 1860, and later on at the Opéra Comique, is comparatively of little importance. A charming _entr'acte_ still occasionally finds its way into concert programmes. A work of larger dimensions was "La Reine de Saba," produced on February 28th, 1862, the third opera written by Gounod for the Grand Opéra. The music of this work is unequal, and the _libretto_ devoid of interest. There are, however, certain numbers that have survived the wreck of this ill-fated score, which has been somewhat too harshly condemned. Amongst these may be mentioned the air, "Plus grand dans son obscurité" (which has remained a favourite with dramatic _prime donne_), the graceful women's chorus at the beginning of the second act, the characteristic ballet music, and the grand march. These last two extracts have become popular, and form part of all properly constituted concert _répertoires_. At the period when this opera was produced, the peculiar disease known as "Wagnerophobia" was raging in Paris, and every composer with something new to say was gratified with the epithet Wagnerian, which was held to be a term of contumely, implying absence of melodic ideas and want of inspiration. There is not much in the "Reine de Saba" that suggests the influence of the German master, except a passing reminiscence of "Tannhaüser," but at that time people did not look too closely into these matters. The score was both long and monotonous, it did not contain too plentiful a proportion of sops to the singers, and it was forthwith pronounced to be Wagnerian, an expression as condemnatory in its intention as its real meaning was little understood. Gounod himself laid great store upon his work, and being met a short time after its production by a musical critic at Baden, he told him that he was travelling on account of a family bereavement. "I have lost," he said, "a woman whom I loved deeply, the Queen of Sheba."