giving, opportunity for a corresponding musical treatment of the words. At last Mozart makes the horns strike in unexpectedly and finish the phrase for him in a manner full of musical fun. As the consciousness grows upon Figaro that he is himself the injured party, his signs of grief and pain grow stronger and more animated. The blending of warm feeling with the involuntarily comic expression of intellectual reaction is psychologically true, and in such a character as Figaro's inevitable; it is embodied in the music in a form very different to that of an ordinary buffo aria. Not less true to nature is Figaro's resigned expression of disappointed love further on, when, having the evidence of his own senses that Susanna has been unfaithful to him, he ejaculates: "Tutto è tranquillo." But such a mood as this could not be a lasting one with Figaro, and changes at once upon Susanna's entrance. Benucci, for whom Mozart wrote Figaro, possessed an "extremely round, full, fine bass voice." He was considered a first-rate actor as well as singer, and had the rare merit of never exaggerating.[13] The individual characterisation is still more sharply defined when several personages appear together in similar situations. Immediately upon the air where Figaro declares war upon the Count (Act I., 3) follows Bartolo's air (Act I., 5) [14] in which the latter announces his approaching victory over Figaro. He also is altogether in earnest; Figaro has cruelly deceived him, and the long-looked-for {BARTOLO.} (89) opportunity of vengeance is close at hand: "Tutta Sevilla conosce Bartolo, il birbo Figaro vinto sarà." He is full of pride and self-consciousness-- La vendetta è un piacer serbato ai saggi, L' obliar l' onte, gl' oltraggi E bassezza, è ognor viltà--