Meanwhile, when the bad humor of the Romans was fairly over, and the _Barber_ established in public favor, Rossini prepared to go to Naples in response to a call from Barbaja. Immediately on his return he set to work, giving first to the Fiorentini theatre a little work entitled _la Gazzetta_, then writing for the San Carlo his _Otello_, which achieved a considerable success and was played by the great artists Nozzari, David, Garcia, Benedetti and Colbran. He afterwards returned to Rome where he gave that gem of comic verve, _la Cenerentola_, then went to Milan where he wrote for the Scala, _la Gazza ladra_, a work little remembered to-day. He then went back to Naples to give _Armida_, and again returned to Rome where he brought out _Adelaide di Borgogna_, which met with very meagre success. But he soon made up for this failure by giving at Naples _Moses in Egypt_, one of his best works, which was followed by _Ricciardo e Zoraide_ and _Hermione_, the libretto of which was taken from Racine's _Andromaque_. At the same time he sent to Lisbon the score of a little comic work which was requested of him by the royal theatre of that city; _Adina, o il Califfo di Bagdad_, on the subject of a French comic opera by Boieldieu, bearing the same title. After having given at Venice _Edoardo e Cristina_ he again won great success at Naples with _la Donna del Lago_, a work full of poetry and originality. It was at this point that Rossini had reached the fulness of his glory. Scarcely twenty-seven years of age, he had already written twenty-nine operas, several of which had achieved a brilliant success, and his name, popular throughout Italy, was famous in all Europe, which applauded his works with frenzy. And yet, the success of _la Donna del Lago_ could not sustain a mediocre work like _Bianca e Falerio_, which was coldly received at the Scala, Milan. But the master regained public favor with his _Maometto II._ which was received with enthusiasm at Naples. He went to Rome shortly after to give _Matilde di Shabran_, one of the feeblest of his works, and then rose to the top again with _Zelmira_, which was very successful, not only at Naples, but at Vienna where Rossini was invited to direct the performance of the opera, accompanied by Colbran, then his wife, who sung the leading part. Finally, he wrote and brought out at Venice, _Semiramide_, one of the most remarkable of his works, in spite of its faults. Rossini counted much, and with reason, on this score which the Venetians received with a cold reserve. Neither the richness of the inspiration, nor the variety of the forms, nor the grandeur of the style which distinguished this noble and superb work, could overcome the indifference of the public. After a reception so unjust, a result so contrary to his legitimate hopes, Rossini, who at that moment was solicited on all sides, did not hesitate to leave Italy. An engagement was offered him in England; he accepted it immediately and