But the influence of Rossini and Meyerbeer on grand opera has continued far beyond their own time. The style of _La Patrie_ by Paladilhe is directly influenced by Meyerbeer. Verdi, in his earlier works, _Guido_, _Trovatore_, _I Lombardi_, shows traces of his methods. Gounod, in the ‘dispute’ scene in the fourth act of _Romeo et Juliette_ likewise reflects Meyerbeer; and Wagner was not above profiting from him whom he most scornfully and unjustly belittled. In summing up the contributions of Rossini and Meyerbeer to the history of music, it may be said that their operas, and in particular those of the latter, are a continuation and amplification of the heritage of Gluck. Édouard Schuré says in his important work, _Le Drame Musical_: ‘The secret of the opera of Meyerbeer is the pursuit of effect for effect’s sake.’ Yet it will be remembered that Gluck himself wrote in the preface of his _Alceste_: ‘I attach no importance to formulas; I have sacrificed all to the effect to be produced.’ The art of Gluck and the art of Meyerbeer have the same point of departure, and each is expressed in formulas which, while quite distinct and individual, denote the highest dramatic genius. Both Rossini and Meyerbeer increased the value of the orchestra in expressing emotion in all its phases in connection with the drama; and helped to open the way for the later development of French grand opera and the innovations of Richard Wagner. Weber and Schubert had both died before Meyerbeer began to play an important part. Succeeding Spontini and Rossini as the dominant figure of the grand opera stage, his real successor was Richard Wagner. But, though Rossini, Meyerbeer, and their followers had enriched the technical resources of opera, had broadened the range of topic and plot, yet they had not turned aside the main current of operatic composition very far from its bed. The romantic and dramatic tendencies which they had introduced, however, were to bear fruit more especially in French romanticism and the development of the evolution of the French _opéra comique_ into the _drame lyrique_. IV An account of the origin and development of the French _opéra comique_ as a purely national form of dramatic musical entertainment has already been given in the chapter dealing with Gluck’s operatic reform. Here we will briefly show its development during the period of which he have spoken.