we will have one piece more, and that shall be the _finale_." The other
replied, "I think, sir, we have had music enough for one night," and
made his bow.

He was an honored guest at the most fashionable houses, where his
talents as a singer and player were displayed with much effect in an
unconventional, social way. Auber, the French composer, was present on
one of these occasions, and indicates how great Rossini could have been
in executive music had he not been a king in the higher sphere. "I shall
never forget the effect," writes Auber, "produced by his lightning-like
execution. When he had finished I looked mechanically at the ivory
keys. I fancied I could see them smoking." Rossini was richer by seven
thousand pounds by this visit to the English metropolis. Though he had
been under engagement to produce a new opera as well as to conduct those
which had already made him famous, he failed to keep this part of his
contract. Passages in his letters at this time would seem to indicate
that Rossini was much piqued because the London public received his
wife, to whom he was devotedly attached, with coldness. Notwithstanding
the beauty of her face and figure, and the greatness of her style both
as actress and singer, she was pronounced _passée_ alike in person
and voice, with a species of brutal frankness not uncommon in English
criticism.

When Rossini arrived in Paris he was almost immediately appointed
director of the Italian Opera by the Duc de Lauriston. With this and the
Académie he remained connected till the revolution of 1830. "Le Siège
de Corinthe," adapted from his old work, "Maometto II.," was the first
opera presented to the Parisian public, and, though admired, did not
become a favorite. The French _amour propre_ was a little stung when it
was made known that Rossini had simply modified and reshaped one of his