An ardent disciple of Wagner sums up his ideas of the mania for the Rossini music, which possessed Europe for fifteen years, in the following: "Rossini, the most gifted and spoiled of her sons [speaking of Italy] sallied forth with an innumerable army of Bacchantic melodies to conquer the world, the Messiah of joy, the breaker of thought and sorrow. Europe, by this time, had tired of the empty pomp of French declamation. It lent but too willing an ear to the new gospel, and eagerly quaffed the intoxicating potion, which Rossini poured out in inexhaustible streams." This very well expresses the delight of all the countries of Europe in music which for a long time almost monopolized the stage. The charge of being a mere tune-spinner, the denial of invention, depth, and character, have been common watchwords in the mouths of critics wedded to other schools. But Rossini's place in music stands unshaken by all assaults. The vivacity of his style, the freshness of his melodies, the richness of his combinations, made all the Italian music that preceded him pale and colorless. No other writer revels in such luxury of beauty, and delights the ear with such a succession of delicious surprises in melody. Henry Chorley, in his "Thirty Years' Musical Recollections," rebukes the bigotry which sees nothing good but in its own kind: "I have never been able to understand why this [referring to the Rossinian richness of melody] should be contemned as necessarily false and meretricious--why the poet may not be allowed the benefit of his own period and time--why a lover of architecture is to be compelled to swear by the _Dom_ at Bamberg, or by the Cathedral at Monreale--that he must abhor and denounce Michel Angelo's church or the Baths of Diocletian at Rome--why the person who enjoys 'Il Barbiere' is to be denounced as frivolously faithless to Mozart's 'Figaro'--and as incapable of comprehending 'Fidelio,' because the last act of 'Otello' and the second of 'Guillaume Tell' transport him into as great an enjoyment of its kind as do the duet in the cemetery between 'Don Juan' and 'Leporello' and the 'Prisoners' Chorus.' How much good, genial pleasure has not the world lost in music, owing to the pitting of styles one against the other! Your true traveler will be all the more alive to the beauty of Nuremberg because he has looked out over the 'Golden Shell' at Palermo; nor delight in Rhine and Danube the less because he has seen the glow of a southern sunset over the broken bridge at Avignon."