Returning for a moment, it is to be noted that in 1822 he was in Naples, making studies in the Conservatory whose librarian, Sigismondi, objected intensely to the new style which had come in with Rossini, and it was only by some ingenious device that Donizetti obtained the scores he was so anxious to peruse. Wherever he went he was handsomely received and greatly applauded. In 1826 he had special honor from the Queen of Naples, and the celebrated manager Barbaja ordered a number of operas for his various theatres and made him director of the Nuovo for two years. During this period he wrote various isolated airs, eminent among which is a setting of Dante's "Count Ugolino's Lament," written for the basso Lablache. Like other composers of the time, Donizetti may be said to have had no fixed residence. If he had a commission from any city, he established himself there temporarily, to be in close and intelligent relationship with the manager, the artists and the public whom he was to please. It was near the close of 1830 that the first work of his which holds a present place, "Anna Bolena," was sung at the Carcano, having been put in rehearsal within four weeks after its beginning. This was adjudged so great a work that Mayer wrote concerning it that "at last the French had to confess that Italy had another composer beside Rossini." Close upon this serious opera came "L'Elisire d'Amore," which still stands beside Rossini's "Cenerentola," a splendidly gay illustration of the best Italian _buffo_ writing. In 1833 "Parisina" introduced him to the Pergola, in Florence, and in the autumn of that year Rome received with great satisfaction "Torquato Tasso," which the author dedicated to Bergamo, Sorrento and Rome. In spite of its fecundity, the genius of Donizetti strengthened with its exercise, and after comparatively brief intervals, occupied with less important works, there appeared those great compositions which will always remain magnificent examplars of Italian opera in the nineteenth century. In 1834, the Scala, despairing because Mercadante, smitten with opthalmia, could not fulfil his engagement, turned to Donizetti, who taking the libretto which Romani had prepared for his friend, completed upon it in twenty-five days, "Lucrezia Borgia," a lyric tragedy which the musicians of all the world know. In 1834 came "Maria Stuarda;" in 1835, "Gemma di Vergy," "Marino Faliero," and the perennially interesting "Lucia di Lammermoor;" in 1836, "Belisario," "Betly" and "L'Assedio di Calais."