When the young artist presented himself at the Milan conservatory to pass the examination which was to test his fitness for entrance to that institution, he was refused admission because, as was claimed, he gave so little evidence of musical talent. This was a severe blow, and for a moment caused the applicant to doubt his capacity for the art he had adopted through the promptings of his instinct: but he soon recovered from the shock, and on the advice of Signor Alessandro Rolla, conductor of La Scala, offered himself as a pupil to the then celebrated composer Lavigna, who, after due consideration, consented to give him lessons in composition and orchestration; and it was from Lavigna that Verdi received his first valuable and practical instruction in music. Verdi was now eighteen, and for two years he devoted himself to the earnest study of harmony, counterpoint, fugue and composition. In 1833, Provesi, his earlier teacher in Busseto, died, and Verdi fulfilling a promise he had made before leaving for Milan returned to Busseto to take the place of Provesi. He went unwillingly, for he had higher aspirations than to become an organist in a small town; but such were the conditions that were made when his friends there subscribed money for his musical education, and Verdi felt that it would be dishonorable to break his word. It happened, however, that there was another candidate for the place, a certain Giovanni Ferrari, an indifferent organist and a still more indifferent musician, who, having influential friends in the church was warmly supported by them. The result was that Verdi was defeated and his rival elected. Verdi plodded along as best he could, and soon fell in love with the oldest daughter of his patron, Barezzi. The young composer was poor; the father of his beloved was rich: but Barezzi made no opposition to the betrothal of the young people, and in 1836 the lovers were made man and wife. Two years later Verdi again turned his back on Busseto, where he was little appreciated and where an art career was impossible. He went again to Milan with his wife and two children, carrying with him the score of his first opera, "Oberto, Conte di San Bonifacio," in the hope of having it performed. On reaching Milan he found that his former teacher and devoted friend, Lavigna, was dead. He experienced the usual difficulties in placing his earliest opera on the stage. At one moment he was full of hope, and then he was cast down by despair. He was bandied to and fro with his score under his arm, until at last his opera was accepted for La Scala and was put into rehearsal. Then, one of the principal artists was taken suddenly ill, and all chance of a performance vanished. The anxieties, the alternations of feeling he had experienced, caused the young composer to lose heart completely, until one morning he was summoned to the theatre by the _impresario_, who, informing him that having heard Ronconi speak very favorably of