instantly withdrew. This, of course, was a tender invitation, and an
assignation at a romantic spot in the suburb. On arriving Rossini
sang his _aria_ for a signal, and from the gate of a charming park
surrounding a small villa appeared his beautiful and unknown inamorata.
On parting it was agreed that the same messenger should bring notice of
the second appointment. Rossini suspected that the lady, in disguise,
was her own envoy, and verified the guess by following the light-footed
page. He then discovered that she was the wife of a wealthy Sicilian,
widely noted for her beauty, and one of the reigning toasts. On renewing
his visit, he had barely arrived at the gate of the park, when a
carbine-bullet grazed his head, and two masked assailants sprang toward
him with drawn rapiers, a proceeding which left Rossini no option but to
take to his heels, as he was unarmed.

During the composer's residence at Naples he was made acquainted with
many of the most powerful princes and nobles of Europe, and his name
became a recognized factor in European music, though his works were
not widely known outside of his native land. His reputation for genius
spread by report, for all who came in contact with the brilliant,
handsome Rossini were charmed. That which placed his European fame on
a solid basis was the production of "Il Barbiere di Seviglia" at Rome
during the carnival season of 1816.

Years before Rossini had thought of setting the sparkling comedy of
Beaumarchais to music, and Sterbini, the author of the _libretto_ used
by Paisiello, had proposed to rearrange the story. Rossini, indeed, had
been so complaisant as to write to the older composer for permission to
set fresh music to the comedy; a concession not needed, for the plays
of Metastasio had been used by different musicians without scruple.
Paisiello intrigued against the new opera, and organized a conspiracy to