noticeably among them the one-act opera of "Milton," in which he stepped
boldly out of his Italian mannerism, and entered on that path afterward
pursued with such brilliancy and boldness. Yet, though his talents began
to be recognized, life was a trying struggle, and it is doubtful if he
could have overcome the difficulties in his way when he was ready to
produce "La Vestale," had he not enlisted the sympathies of the
Empress Josephine, who loved music, and played the part of patroness as
gracefully as she did all others.

By Napoleon's order "La Vestale" was rehearsed against the wish of the
manager and critics of the Academy of Music, and produced December 15,
1807. Previous to this some parts of it had been performed privately
at the Tuileries, and the Emperor had said: "M. Spontini, your opera
abounds in fine airs and effective duets. The march to the place of
execution is admirable. You will certainly have the great success you
so well deserve." The imperial prediction was justified by consecutive
performances of one hundred nights. His next work, "Fernand Cortez,"
sustained the impression of genius earned for him by its predecessor.
The scene of the revolt is pronounced by competent critics to be one of
the finest dramatic conceptions in operatic music.

In 1809 Spontini married the niece of Erard, the great pianoforte-maker,
and was called to the direction of the Italian opera; but he retained
this position only two years, from the disagreeable conditions he had to
contend with, and the cabals that were formed against him. The year 1814
witnessed the production of "Pelage," and two years later "Les Dieux
Rivaux" was composed, in conjunction with Persuis, Berton, and Kreutzer;
but neither work attracted much attention. The opera of "Olympic,"
worked out on the plan of "La Vestale" and "Cortez," was produced in
1819. Spontini was embittered by its poor success, for he had built many