“that the character is not badly devised in a country governed by an oligarchical court composed of bachelors, and where the power is in the hands of old age.” I need hardly say that Cassandrino, although a churchman, is not bound by monastic rules—is in fact a layman—but I would wager that there is not a spectator who does not invest him in imagination with a cardinal’s red cap, or at least with the violet stockings of a _monsignore_. The _monsignori_ are, it is well known, the young men of the papal court; it is the place that leads to all others. Rome is full of _monsignori_ of Cassandrino’s age, who have their fortune still to make, and who seek amusement whilst waiting for the cardinal’s hat. Cassandrino is the hero of innumerable little plays. His susceptible heart continually leads him into scrapes. Disguised as a young man, he goes to take lessons of a painter, with whose sister he is in love, is detected by the lady’s aunt whom he had formerly courted, escapes from her into the studio, is roughly treated by the pupils, threatened with a dagger’s point by the painter, and at last, to avoid scandal, which he fears more than the poniard, abandons all hope of the red hat, and consents to marry the aunt. In another piece, tired of the monotony of his solitary home, he makes a journey to Civita Vecchia, and meets with all manner of ludicrous mishaps; and in a third, entitled _Cassandrino dilettante e impresario_, his too great love of music and the fair sex gets him into quarrels with _tenori_ and _bassi_, and especially with the _prima donna_ whom he courts, and with the _maestro_ who is his rival. This _maestro_ is in the prime of youth; he has light hair and blue eyes, he loves pleasure and good cheer, his wit is yet more seductive than his person. All these qualities, and the very style of his dress, remind the audience of one of the few great men modern Italy has produced. There is a burst of applause; they recognise and greet Rossini.