But the glory of the two last mentioned composers was far surpassed by that of their great rival Gioacchino Rossini (born at Pesaro, 1792, died at Passy, near Paris, 1868.) Son of roaming musicians, he became early acquainted with stage-life, and after some incomplete studies, he ventured to write an opera, "La Cambiale di Matrimonio" (1810, Venice). Two others followed, and with the fourth, "La Pietra di Paragone," he scored a great success at Milan. In 1813 "Tancredi" was given and created a furore, making for him a world-wide reputation. "Il Barbiere di Siviglia," the greatest masterpiece of opera buffa, was a fiasco at Rome (1816). "La Cenerentola" (1817), "La Gazza ladra" (1817) and "Moise in Egitto" (1818) were his greatest successful operas. He went afterwards to Vienna, where he was received with enthusiasm, and succeeded in making the Viennese quite forget that they had Beethoven living among them. In 1825 he settled in Paris and produced "Guillaume Tell." After this he wrote no more for the stage, but in 1842 he completed his exquisite "Stabat Mater," and in 1864 "La Messe Solennelle." To the end of his life he possessed the art not only of attaining popularity, but of gaining the affections of all with whom he came in contact. It may not be without interest to quote some sentences of the celebrated French writer Eugène de Mirecourt (in "Les Contemporains") to show in what quite different ways French people of the time gave their opinion about Rossini. Mirecourt says: "In spite of his immense musical genius we do not accord him the _feu sacré_. He never cared for any dignity in his talent, nor had he any pride in his art. God gave him melody, and he might have sung like the nightingale, which warbles among the branches of the tree, but Gioacchino did not care for that sort of thing. He aspired only to become a millionaire as quickly as possible. At the top of every sixteenth note he saw a gold coin, and hence he wrote as many semiquavers as he was able." Another characteristic incident may be mentioned, which will show Rossini in another light. Nourrit, the celebrated French tenor, who created the part of "Arnold" in William Tell, suggested that Rossini should make an addition to the score, writing a new duet between Matilda and Arnold, and trying to emulate in it the celebrated duo from "The Huguenots." Rossini, as he had finished the full score of the opera, did not see his way clear to comply with Nourrit's wish, and his letter to the great tenor is significant. He writes: "I have finished completely my 'William Tell.' And it was a very hard work, I may say, not because of the many notes with which I filled the staves, but for the emotion, for the continuous keeping up of a high-pitched excitement during the composition. There are many who firmly believe in my _fa presto_ way, in my careless writing, because they have seen me, over and over again, laughing, joking, perhaps also attending to the cooking of a dish of