The choruses, heightened by the scenic arrangements, must have contributed greatly to the success of the opera. They display so much freedom and assurance, such perfect mastery of method in order to attain the truest effect, that perhaps it was here that Hasse recognised the footprints of the lion. The second festival piece, composed in honour of the {MOZART'S EARLY OPERAS.} (190) newly elected Archbishop Hieronymus in 1772, was Metas-tasio's "Sogno di Scipione" (126 K.), an allegorical poem in one act, on a classical model.[11] To the younger Scipio, asleep in the Palace of Massinissa, appear Steadfastness (Costanza) and Fortuna, and require him to decide which of the two he will choose for his guide through life. On his demanding time for consideration, Fortuna depicts in a song her fleeting, unstable nature. Costanza answers his question as to where he is by telling him he is in heaven, instructs him on the harmony of the spheres, and informs him that he is in that region of heaven where his departed ancestors abide. These approach him in a chorus, and from their midst steps out the elder Scipio Africanus, who acquaints him with the immortality of the soul, and the reward of the good in another life. Then Scipio's father, Emilius Paulus, draws near; he shows him the earth as a little point in boundless space, and warns him of the nothingness of all earthly things in comparison to the heavenly. Struck by this, Scipio wishes at once to leave earth and remain with his forefathers, but Africanus refuses, telling him that he is destined to save Rome, and that he must therefore tarry on earth, and earn by his great deeds the reward of immortality. Africanus refuses also to influence by his advice Scipio's choice between the two goddesses, who now demand his decision. Fortuna, who has more than once expressed her impatience, again depicts her omnipotence, which Costanza opposes with a representation of her victorious strength. On Scipio's declaring himself in favour of the latter, Fortuna threatens him with her heaviest penalties, the dazzling apparition disappears, a tremendous storm breaks forth, and Scipio awakes in the Palace of Massinissa, and declares himself true to Costanza. The allusions to the circumstances under which the piece was first produced on October 1, 1735--the birthday of Charles VI., who had suffered severe defeats in Italy--are evident enough, especially in the speeches of Africanus and Costanza. Nevertheless, the Licenza comes at the conclusion, making a direct address to the hero of the occasion, and winding up with a formal congratulation in the form of an aria and chorus. {SOGNO DI SCIPIONE," 1772.} (191)