In "Rigoletto," produced in Venice in 1851, the full flowering of his genius into the melodramatic style was signally shown. The opera story adapted from Victor Hugo's "Le Roi s'amuse" is itself one of the most dramatic of plots, and it seemed to have fired the composer into music singularly vigorous, full of startling effects and novel treatment. Two years afterward were brought out at Rome and Venice respectively two operas, stamped with the same salient qualities, "Il Trovatore" and "La Traviata," the last a lyric adaptation of Dumas _fils's_ "Dame aux Camelias." These three operas have generally been considered his masterpieces, though it is more than possible that the riper judgment of the future will not sustain this claim. Their popularity was such that Verdi's time was absorbed for several years in their production at various opera-houses, utterly precluding new compositions. Of his later operas may be mentioned "Les Vepres Siciliennes," produced in Paris in 1855; "Un Ballo in Maschera," performed at Rome in 1859; "La Forza del Destino," written for St. Petersburg, where it was sung in 1863; "Don Carlos," produced in London in 1867; and "Aida" in Grand Cairo in 1872. When the latter work was finished, Verdi had composed twenty-nine operas, beside lesser works, and attained the age of fifty-seven. Verdi's energies have not been confined to music. An ardent patriot, he has displayed the deepest interest in the affairs of his country, and taken an active part in its tangled politics. After the war of 1859 he was chosen a member of the Assembly of Parma, and was one of the most influential advocates for the annexation to Sardinia. Italian unity found in him a passionate advocate, and, when the occasion came, his artistic talent and earnestness proved that they might have made a vigorous mark in political oratory as well as in music. The cry of "Viva Verdi" often resounded through Sardinia and Italy, and it was one of the war-slogans of the Italian war of liberation. This enigma is explained in the fact that the five letters of his name are the initials of those of Vittorio Emanuele Re D'Italia. His private resources were liberally poured forth to help the national cause, and in 1861 he was chosen a deputy in Parliament from Parma. Ten years later he was appointed by the Minister of Public Instruction to superintend the reorganization of the National Musical Institute.