or add to his verses with a view to increasing the effectiveness of Rossini's music. After writing "Largo al fattotum," with the rapidity of an improvisator he handed the verses to Rossini, remarking--as Leopold II. remarked to Mozart with regard to the number of notes contained in the _Seraglio_--that there were "too many." "Precisely the right number," was virtually Rossini's reply; and inspired by their vivacity and their rhythmical flow, he, in fact, set them all. Something of the light-hearted elastic character of the constantly changing air must doubtless be attributed, not only to the verve with which Sterbini had written the words, but also to the impulsiveness and volubility with which Rossini knew beforehand that Zamboni would sing them. Rossini worked so quickly that at times he found himself ahead of his poet--though, as regards the mere putting down on paper, the writing of verses is but trifling labour compared to that of composing music. Thus, without waiting for verses, he found a melody or devised a form for the next musical piece in the order agreed upon, and thereupon asked the obliging Sterbini to furnish him with suitable "words." Besides a leading singer in the next room, the poet and composer had by their side a number of copyists, to whom Rossini threw the sheets of music as he finished them. For thirteen days the joint authors had scarcely time to eat, and M. Azevedo asserts that they slept but little, and then only on a sofa, when it so happened that they could no longer keep their eyes open. For thirteen days Rossini did not shave; and when some one observed how strange it was that the _Barber_ should have caused him to let his beard grow, he replied, that if he had shaved he should have gone out, and that if he had gone out he should not have returned as soon as he ought to have done. It seems incredible that in thirteen days the whole of the _Barber_ should have been composed in score; but it is certain that the contract binding Rossini to compose it was only signed on the 26th December, and that he directed the first, second, and third performances of _Torvaldo e Dorliska_ on the 27th, 28th and 29th. Some days, too, were lost in discussing various subjects for the proposed opera with the Roman censorship; and finally, when the _Barber of Seville_ had been decided upon, Rossini had to read the comedy and to compare it with the libretto of Paisiello's opera, and to arrange with his own librettist a new distribution of scenes. The date of the first representation had been fixed for February 5th, and it was customary at the Italian theatres to allow fifteen days for rehearsals. He must then have finished the work in less than a month--between December 29th and January 24th; and one month is the time given by M. Castil-Blaze in his _Histoire du Théâtre Italien_. Stendhal, however, says (after Carpani) that the _Barber_ was composed in thirteen days; and this statement is