increase his glory and his welfare. After my son's death, what have
you not done to honor my son's name and render it dear to posterity? I
learned this from the newspapers; and I am penetrated with gratitude for
your excessive kindness as well as for that of a number of distinguished
artists, which also I shall never forget. Pray, sir, be my interpreter,
and tell these artists that the father and family of Bellini, as well as
of our compatriots of Catania, will cherish an imperishable recollection
of this generous conduct. I shall never cease to remember how much you
did for my son. I shall make known everywhere, in the midst of my tears,
what an affectionate heart belongs to the great Rossini, and how kind,
hospitable, and full of feeling are the artists of France."

Bellini was affable, sincere, honest, and affectionate. Nature gave him
a beautiful and ingenuous face, noble features, large, clear blue eyes,
and abundant light hair. His countenance instantly won on the regards
of all that met him. His disposition was melancholy; a secret depression
often crept over his most cheerful hours. We are told there was a
tender romance in his earlier life. The father of the lady he loved,
a Neapolitan judge, refused his suit on account of his inferior social
position. When Bellini became famous the judge wished to make amends,
but Bellini's pride interfered. Soon after the young lady, who loved him
unalterably, died, and it was said the composer never recovered from the
shock.

IV.

Donizetti and Bellini were peculiarly moulded by the great genius of
Rossini, but in their best works they show individuality, color, and
special creative activity. The former composer, one of the most affluent
in the annals of music, seemed to become more fresh in his fancies
with increased production. He is an example of how little the skill and
touch, belonging to unceasing work, should be despised in comparison
with what is called inspiration. Donizetti arrived at his freshest
creations at a time when there seemed but little left for him except the
trite and threadbare. There are no melodies so rich and well fancied as
those to be found in his later works; and in sense of dramatic form
and effective instrumentation (always a faulty point with Donizetti) he
displayed great progress at the last. It is, however, a noteworthy fact,
that the latest Italian composers have shown themselves quite weak
in composing expressly for the orchestra. No o