Rossini's artistic successes led to another kind of success, no less important. Italy was then under French rule, and Napoleon, emperor of the French people, had taken the title of king of Italy. But Napoleon, whose very life it was to fight, was a terrible devourer of men and his constant cry was for more soldiers. Rossini had reached the age when he must draw lots for the conscription. Was it possible to enroll a young artist whose genius announced itself in so brilliant a fashion, and could they force this artist, who promised to win distinction for his country, to take the chances of combat? All Italy was as one voice which demanded that Rossini be exempt from military service. Prince Eugène, who bore the title and fulfilled the functions of viceroy, took it upon himself to pronounce this exemption, and the future author of _William Tell_ was able to pursue in peace the career in which he was to find honor and glory. In 1814 Rossini gave in quick succession to the Scala theatre of Milan two great works, one of them serious, _Aureliano in Palmira_, which was not very successful, the other light, _il Turco in Italia_, which was more fortunate; then in the following year he brought out at Venice _Sigismondo_. It was from this time forth that he found a place worthy of him. [Illustration: GIOACCHINO ROSSINI. Reproduction of an excellent lithograph portrait of Rossini in middle life.] There was at that time at the San Carlo theatre of Naples a man who had made himself famous throughout all Italy, a remarkable impresario, whose cleverness and fortune were matters of surprise even to those best acquainted with the mysteries of the green-room, and the difficulties attending all enterprises of this kind. A Milanese by birth, this man, whose name was Domenico Barbaja, was born of very poor parents, who had given him no education whatever. But he was naturally intelligent, astute, audacious, consumed with ambition, and to all this he joined a very sagacious mind and a remarkable artistic instinct, coupled with an indefatigable activity. Ascended from the lowest round in the social ladder, apt at everything he undertook, having been in turn commissioner, horse-jockey, waiter at the café, petty usurer and contractor for the public gaming tables, he had ended by becoming quite at home in public affairs, which he managed with a consummate cleverness. He had installed himself at Naples in 1808, and it was there that he had obtained the license for keeping a gambling house. The following year he took the direction of the two royal theatres, San Carlo and Fondo, to which he soon added the other two theatres, the Fiorentini and the Nuovo. Then, as if this did not suffice to satisfy his ardor, he undertook in a short time, without abandoning any of his other projects, the management of the two great stages of the Scala and the Canobbiana at Milan, and the Italian opera at Vienna. And under his inspired direction