with the eager impetuosity which belongs to the Italian character and
climate. The first representation, if successful, is generally followed
by twenty or thirty more of the same piece, after which the company
breaks up.... From this little sketch of theatrical arrangements in
Italy some idea may be formed of the life which Rossini led from 1810 to
1816." Between these years he visited all the principal towns, remaining
three or four months at each, the idolized guest of the _dilettanti_
of the place. Rossini's idleness and love of good cheer always made
him procrastinate his labors till the last moment, and placed him in
dilemmas from which only his fluency of composition extricated him. His
biographer says:

"The day of performance is fast approaching, and yet he cannot resist
the pressing invitations of these friends to dine with them at the
tavern. This, of course, leads to a supper, the champagne circulates
freely, and the hour of morning steals on apace. At length a
compunctious visiting shoots across the mind of the truant composer. He
rises abruptly; his friends insist on seeing him home; and they parade
the silent streets bareheaded, shouting in chorus whatever comes
uppermost, perhaps a portion of a _miserere_, to the great scandal of
pious Catholics tucked snugly in their beds. At length he reaches
his lodging, and shutting himself up in his chamber is, at this, to
every-day mortals, most ungenial hour, visited by some of his most
brilliant inspirations. These he hastily scratches down on scraps
of paper, and next morning arranges them, or, in his own phrase,
instruments them, amid the renewed interruptions of his visitors. At
length the important night arrives. The _maestro_ takes his place at
the pianoforte. The theatre is overflowing, people having flocked to the
town from ten leagues distance. Every inn is crowded, and those unable
to get other accommodations encamp around the theatre in their various