the managers demanded, "_Un Giorno di Regno_," was a dead failure, and disgusted the composer to such a point that he declared that he would never write again. At this time Verdi was the victim of most severe affliction. In addition to poverty, within the space of about two months he experienced the loss of his two children and of his wife, to whom he was devotedly attached. After living some time in Milan, he received a copy of the libretto, "_Il Proscritto_," and in 1842 it was performed. It was well staged, and achieved an unqualified success. Then followed "_I Lombardi_" (1843), "_Ernani_" (1844), "_I Due Foscari_" (1844), "_Attila_" (1846), "Macbeth" (1847), "_Rigoletto_" (1851), "_Il Trovatore_" (1853), "_La Traviata_" (1853), "_Les Vepres Siciliennes_" (1855), "_Un Ballo in Maschera_" (1859), "_La Forza del Destino_" (1862), "_Don Carlos_" (1867), "_Aida_" (1871), "_Otello_" (1887). In addition to these works he has written a great "Requiem Mass," and many smaller works. Besides the operas above mentioned there were several others now mostly forgotten, the total number being twenty-nine; and there is not one of them that does not contain more or less of striking melody, with effective concerted pieces and choruses. Verdi's melody was much more vigorous than that of either of his predecessors. In "_Trovatore_" there are ten or twelve numbers which have become famous in the barrel-organ repertory. His instrumentation was very full and sonorous, and his dramatic instinct excellent. We do not find the long roulades and ornamental passages according to the taste of his predecessors, but instead of them, clear, sharp, concise, manly melodies--unfortunately, however, they are so near the line of the vulgar that only a refined treatment on the part of the singer can save them for poetry and beauty.