Of composers, there are perhaps more amusing stories of Spontini than of any other single opera writer. This very opinionated and high-handed Italian thought much of himself, and little of all else, with the result that his life is very amusing reading. He _would_ have what he wanted. If his cellos could not play loud enough, they were made to sing their parts as well; if, after six hours’ rehearsal, his prima donna fainted, he suggested that someone with more physique should be engaged. He did not, however, always have his own way. When _La Petite Maison_ was produced in 1804, the audience dashed on the stage and smashed everything, while _La Vestale_ was greeted with laughing, snoring, and the putting on of nightcaps. His orchestra, although moderate in volume in comparison with what often obtains to-day, was considered very noisy, so much so that it is said that a certain doctor who had a very deaf patient thought he might be made to hear by attending a performance of _La Vestale_. After a specially noisy passage the deaf man with delight turned to his doctor: “I can hear,” said he. His remark met with no response, for the reason that the doctor himself had been deafened by the noise. Spontini felt such opposition very keenly: others are less affected by hostility. When Rossini’s _Il Barbiere_ was produced at Rome in 1816, it was hooted and hissed, much to the chagrin of several of the composer’s friends. Thinking to commiserate with him on the failure of his work, they called at his house, expecting to find him in the depths of despair: instead of that the maestro was safely tucked up in bed and fast asleep. Quotations of stories of singer and composer might fill many chapters of such a book as this, but there are books such as Sutherland Edward’s _History of the Opera_ and Ella’s _Musical Reminiscences_ to which those interested may readily turn, and therefore need not be reprinted here. A whole wealth of amusement may be derived from the daily papers, and to-day the impressarios of New York seem to be the most persecuted persons in the world. Opera has its worries and troubles, but to those who love it it is a constant source of refreshment and of artistic joy. Appendices. A. CHRONOLOGICAL LIST OF COMPOSERS OF OPERA, GREAT SINGERS, CONDUCTORS, ETC. B. FINANCIAL AID GRANTED TO OPERATIC SCHEMES FROM STATE OR MUNICIPAL FUNDS. C. GLOSSARY OF TERMS MAINLY USED IN OPERA. D. LIST OF INSTRUMENTS USED IN THE ORCHESTRAS OF COMPOSERS OF DIFFERENT PERIODS OF OPERA. E. BIBLIOGRAPHY OF OPERA. Appendix A. Chronological List of Composers of Opera (with names of their chief works), Great Singers, Conductors, etc. 1535 (?). =Vincenzo Galilei= (Florence). Early writer of music drama on the lines of Greek tragedy.