Meanwhile an attempt had been made by Arne to adapt the mannerisms of the Italian stage to English opera. His 'Artaxerxes,' which was produced in 1762, was constructed strictly upon the lines of Italian opera, being made up throughout entirely of airs and recitative. It had a most encouraging reception, but the enterprise seems to have borne little fruit, for after a few years we hear no more of English opera 'after the Italian manner,' and London seems to have been content with Italian opera and ballad operas of the already familiar type. The traditions of the latter were successfully carried on by Storace, a naturalised Italian, Dibdin, Shield, Hook, and many others, many of whose songs are still popular, though the works of which they once formed part have long been forgotten. The ballad operas of these composers were of unimaginable _naivete_ and depended entirely upon their simple tunefulness for such favour as they won. Sir Henry Bishop (1786-1855) raised the artistic standard of this form of art considerably. There is real musical interest in some of his concerted pieces, and many of his choruses, which are familiar to us under the incorrect name of glees, are capitally written. Had Bishop possessed the necessary energy and enterprise, he might have founded a school of English opera which would have compared favourably even with its continental contemporaries. To John Barnett (1802-1890) belongs the credit of writing the first English opera, strictly so called, since Arne's 'Artaxerxes.' 'The Mountain Sylph,' which was produced in 1834, fulfils all the requirements of the operatic form. It is besides a work of genuine charm and power, and retained its popularity for many years.