repeated--not, it must be presumed without verification--by M. Azevedo. On one point connected with the production of the new _Barber_, Stendhal and Azevedo are quite at variance. According to the former, Rossini, as a matter of politeness, went through the unnecessary form of asking Paisiello's leave to reset the work, and received from him full permission to do so; the ancient master nourishing the hope that in recomposing a work which had already, as he believed, received its permanent musical form, the young composer would bring himself to grief. M. Azevedo denies that Rossini asked Paisiello's consent in the matter. But he adds that the venerable maestro knew of Rossini's intention, and not only looked forward to the failure of his youthful rival, but was even prepared to lend a helping hand thereto. CHAPTER VIII. IL BARBIERE. Rossini did not bring out his _Barber_ without addressing a few words of explanation, if not of apology, to the public; and by way of disclaiming all idea of entering into rivalry with Paisiello he announced his opera under a new title. "Beaumarchais' comedy," he wrote, in an advertisement to the public, "entitled the _Barber of Seville; or, The Useless Precaution_,[5] is presented at Rome in the form of a comic drama, under the title of _Almaviva; or, The Useless Precaution_, in order that the public may be fully convinced of the sentiments of respect and veneration by which the author of the music of this drama is animated with regard to the celebrated Paisiello, who has already treated the subject under its primitive title. "Himself invited to undertake this difficult task, the maestro, Gioachino Rossini, in order to avoid the reproach of entering into rivalry with the immortal author who preceded him, expressly required that the _Barber of Seville_ should be entirely versified anew, and also that new situations should be added for the musical pieces, which, moreover, are required by the modern theatrical taste--entirely changed since the time when the renowned Paisiello wrote his work. "Certain other differences between the arrangement of the present drama and that of the French comedy above-cited were produced by the necessity of introducing choruses, both for conformity with modern usage, and because they are indispensable for musical effect in so vast a theatre. The courteous public is informed of this beforehand, that it may also excuse the author of the new drama who, unless obliged by these imperious circumstances, would never have ventured to introduce the least change into the French work, already consecrated by the applause of all the theatres in Europe."