The brothers Ricci, Luigi (1805-1859) and Federico (1809-1877), wrote many operas, both singly and in collaboration, but 'Crispino e la Comare' is the only one of their works which won anything like a European reputation. The story is a happy combination of farce and _feerie_. Crispino, a half-starved cobbler, is about to throw himself into a well, when La Comare, a fairy, rises from it and bids him desist. She gives him a purse of gold, and orders him to set up as a doctor, telling him that when he goes to visit a patient he must look to see whether she is standing by the bedside. If she is not there, the sick man will recover. Crispino follows her directions, and speedily becomes famous, but success turns his head, and he is only brought back to his senses by a strange dream, in which the fairy takes him down to a subterranean cavern where the lamp of each man's life is burning and he sees his own on the point of expiring. After this uncomfortable vision he is thankful to find himself still in the bosom of his family, and the opera ends with his vows of amendment. The music is brilliant and sparkling, and altogether the little opera is one of the best specimens of opera buffa produced in Italy after the time of Rossini. The other men who devoted themselves to opera buffa during this period my be briefly dismissed. Carlo Pedrotti (1817-1893), whose comic opera 'Tutti in Maschera,' after a brilliant career in Italy, was successfully produced in Paris, and Antonio Cagnoni (1828-1896), were perhaps the best of them. A version of the latter's 'Papa Martin' was performed in London in 1875, under the name of 'The Porter of Havre.' CHAPTER VIII MEYERBEER AND FRENCH OPERA HEROLD--MEYERBEER--BERLIOZ--HALEVY--AUBER