The year 1830 was for Berlioz one of alternate exaltation and misery; of struggle, privation, disappointment; of all manner of torments inseparable from such a volcanic temperament and restless brain. But he had one consolation which gratified his vanity. He gained the Prix de Rome by his cantata of "Sardanapalus." This honor had a practical value also. It secured him an annuity of three thousand francs for a period of five years, and two years' residence in Italy. Berlioz would never let "well enough" alone, however. He insisted on adding an orchestral part to the completed score, describing the grand conflagration of the palace of Sardanapalus. When the work was produced, it was received with a howl of sarcastic derision, owing to the latest whim of the composer. So Berlioz started for Italy, smarting with rage and pain, as if the Furies were lashing him with their scorpion whips. III. The pensioners of the Conservatoire lived at Rome in the Villa Medici, and the illustrious painter, Horace Vernet, was the director, though he exercised but little supervision over the studies of the young men under his nominal charge. Berlioz did very much as he pleased--studied little or much as the whim seized him, visited the churches, studios, and picture-galleries, and spent no little of his time by starlight and sunlight roaming about the country adjacent to the Holy City in search of adventures. He had soon come to the conclusion that he had not much to learn of Italian music; that he could teach rather than be taught. He speaks of Roman art with the bitterest scorn, and Wagner himself never made a more savage indictment of Italian music than does Berlioz in his "Memoires." At the theatres he found the orchestra, dramatic unity, and common-sense all sacrificed to mere vocal display. At St. Peter's and the Sistine Chapel religious earnestness and dignity were frittered away in pretty part-singing, in mere frivolity and meretricious show. The word "symphony" was not known except to indicate an indescribable noise before the rising of the curtain. Nobody had heard of Weber and Beethoven, and Mozart, dead more than a score of years, was mentioned by a well-known musical connoisseur as a young man of great promise! Such surroundings as these were a species of purgatory to Berlioz, against whose bounds he fretted and raged without intermission. The director's receptions were signalized by the performance of insipid cavatinas, and from these, as from his companions' revels in which he would sometimes indulge with the maddest debauchery as if to kill his own thoughts, he would escape to wander in the majestic ruins of the Coliseum and see the magic Italian moonlight shimmer through its broken arches, or stroll on the lonely Campagna till his clothes were drenched with dew. No fear of the deadly Roman malaria could check his restless excursions, for, like a fiery horse, he was irritated to madness by the inaction of his life.