From 1812 to 1851 Verdi's busy imagination produced a series of operas, which disputed the palm of popularity with the foremost composers of his time. "I Lombardi," brought out at La Scala in 1843; "Ernani," at Venice in 1844; "I Due Foscari," at Rome in 1844; "Giovanna D'Arco," at Milan, and "Alzira," at Naples in 1845; "Attila," at Venice in 1846; and "Macbetto," at Florence in 1847, were--all of them--successful works. The last created such a genuine enthusiasm that he was crowned with a golden aurel-wreath and escorted home from the theatre by an enormous crowd. "I Masnadieri" was written for Jenny Lind, and performed first in London in 1847 with that great singer, Gardoni, and Lablache, in the cast. His next productions were "Il Corsaro," brought out at Trieste in 1848; "La Battaglia di Legnano" at Rome in 1849; "Luisa Miller" at Naples in the same year; and "Stiffelio" at Trieste in 1850. By this series of works Verdi impressed himself powerfully on his age, but in them he preserved faithfully the color and style of the school in which he had been trained. But he had now arrived at the commencement of his transition period. A distinguished French critic marks this change in the following summary: "When Verdi began to write, the influences of foreign literature and new theories on art had excited Italian composers to seek a violent expression of the passions, and to leave the interpretation of amiable and delicate sentiments for that of sombre flights of the soul. A serious mind gifted with a rich imagination, Verdi became the chief of the new school. His music became more intense and dramatic; by vigor, energy, _verve_, a certain ruggedness and sharpness, by powerful effects of sound, he conquered an immense popularity in Italy, where success had hitherto been attained only by the charm, suavity, and abundance of the melodies produced."