The early days of opera comique in Paris were distracted by the jealousy existing between the French and Italian schools, but in 1762 peace was made between the rival factions, and by process of fusion the two became one. With the opening of the new Theatre de l'Opera Comique--the Salle Favart, as it was then called--there began a new and brilliant period for the history of French art. It is a significant fact, and one which goes far to prove how closely the foundation of opera comique was connected with a revolt against the boredom of grand opera, that the most successful composers in the new _genre_ were those who were actually innocent of any musical training whatsoever. Monsigny (1729-1817) is a particularly striking instance of natural genius triumphing in spite of a defective education. Nothing can exceed the thinness and poverty of his scores, or their lack of all real musical interest; yet, by the sureness of his natural instinct for the stage, he succeeded in writing music which still moves us as much by its brilliant gaiety as by its tender pathos. 'Le Deserteur,' his most famous work, is a touching little story of a soldier who deserts in a fit of jealousy, and is condemned to be shot, but is saved by his sweetheart, who begs his pardon from the king. Much of the music is almost childish in its _naivete_, but there is real pathos in the famous air 'Adieu, Louise,' and some of the lighter scenes in the opera are touched off very happily. The musical education of Gretry (1741-1831) was perhaps more elaborate than that of Monsigny, but it fell very far short of profundity. His music excels in grace and humour, and he rarely treated serious subjects with success. Such works as 'Le Tableau Parlant,' 'Les Deux Avares,' and 'L'Amant Jaloux' are models of lightness and brilliancy, whatever may be thought of their musicianship. 'Richard Coeur de Lion' is the one instance of Gretry having successfully attempted a loftier theme, and it remains his masterpiece. The scene is laid at the castle of Duerrenstein in Austria, where Richard lies imprisoned, and deals with the efforts of his faithful minstrel Blondel to rescue him. In this work Gretry adapted his style to his subject with wonderful versatility. Much of the music is noble and dignified in style, and Blondel's air in particular, 'O Richard, O mon roi,' has a masculine vigour which is rarely found in the composer's work. But as a rule Gretry is happiest in his delicate little pastorals and fantastic comedies, and, for all their slightness, his works bear the test of revival better than those of many of his more learned contemporaries. Philidor (1726-1797) was almost more famous as a chess-player than as a composer. He had the advantage of a sound musical education under Campra, one of the predecessors of Rameau, and his music has far more solid qualities than that of Gretry or Monsigny. His treatment of the orchestra, too, was more scientific than