Representing scene from the "Barber of Seville."] [Illustration: VINCENZO BELLINI _Reproduction of a portrait in the possession of Francesco Florimo, a fellow-student with Bellini in Naples. Engraved by C. Deblois._] [Illustration] VINCENZO BELLINI Toward the end of the last century there came to the pleasant and prosperous city of Catania, in Sicily, a musician named Vincenzo Bellini. He had a large family, and his eldest son, Rosario, followed the family profession as a teacher and church organist. Rosario married young, and on the 1st of November, 1801, his first child was born and was named Vincenzo, for his grandfather. The usual stories of precocious talent are attributed to this boy, but the fact remains that he showed from his childhood a strongly musical disposition, and that his talent was so well cultivated by his father and grandfather that he could play the piano passably when five years old, and at six wrote some small religious settings. As he grew the artistic temperament manifested itself strongly, both in efforts to follow professional lines, and in the fitful moodiness characteristic of such natures. It was soon evident that the boy had obtained all that Catania could give him. His father had not the means to provide properly for him, and consequently he petitioned the municipality to send Vincenzo to Naples. The royal intendant received the petition favorably, and an annual allowance was granted in May, 1819. On leaving Sicily, Bellini took excellent letters of recommendation to persons of consequence in Naples, and particularly to Nicolo Zingarelli, who was the director of the Conservatory. For two years he was taught by Giacomo di Tritto, then an old man, but still famous not only for his own able compositions, but also for his training of his students. Then he passed on to Zingarelli, under whom his progress was so notable that he was promoted to the honorable position of first assistant master. Yet, as his after life proved, this progress was due more to the natural expansion of his powers than to any steady and systematic use of them. During this period, Bellini wrote a good many things, of which nothing is now heard, because they were done perfunctorily, and belonged to such classes of composition as did not suit his genius.