Although, for the sake of convenience, it is customary to speak of Weber as the founder of the romantic school in music, it must not be imagined that the new school sprang into being at the production of 'Der Freischuetz.' For many years the subtle influence of the romantic school in literature--the circle which gathered round Tieck, Fichte, and the Schlegels--had been felt in music. We have seen how the voluptuous delights of Armida's garden affected even the stately muse of Gluck; and in the generation which succeeded him, though opera still followed classic lines of form, in subject and treatment it was tinged with the prismatic colours of romance. Mehul's curious experiments in orchestration, and the solemn splendour of Mozart's Egyptian mysteries, alike show the influence of the romantic spirit as surely as the weirdest piece of _diablerie_ ever devised by Weber or his followers. Yet though intimations of the approaching change had for long been perceptible to the discerning eye, it was not until the days of Weber that the classical forms and methods which had ruled the world of opera since the days of Gluck gave way before the newer and more vivid passion of romance. Even then it must not be forgotten that the romantic school differed from the classic more in view of life and treatment of subject than in actual subject itself. The word romance conjures up weird visions of the supernatural or glowing pictures of chivalry; but although it is true that Weber and his followers loved best to treat of such themes as these, they had by no means been excluded from the repertory of their classical predecessors. The supernatural terrors of 'Der Freischuetz' must not make us forget the terrific finale to 'Don Giovanni,' nor can the most glowing picture from 'Euryanthe' erase memories of Rinaldo and the Crusaders in 'Armide.' The romantic movement, however, as interpreted by Weber, aimed definitely at certain things, which had not previously come within the scope of music, though for many years they had been the common property of art and literature. The romantic movement was primarily a revolt against the tyranny of man and his emotions. It claimed a wider stage and an ampler air. Nature was not henceforth to be merely the background against which man played his part. The beauty of landscape, the glory of the setting sun, the splendour of the sea, the mystery of the forest--all these the romantic movement taught men to regard not merely as the accessories of a scene in which man was the predominant figure, but as subjects in themselves worthy of artistic treatment. The genius of Weber (1786-1826) was a curious compound of two differing types. In essence it was thoroughly German--sane in inspiration, and drawing its strength from the homely old Volkslieder, so dear to every true German heart. Yet over this solid foundation there soared an imagination surely more delicate and ethereal