Barbaja, the ex-waiter at the Ridotto of the San Carlo Theatre, was director of the San Carlo itself, and almost at the height of his glory, which Rossini was so much to increase, when Tancredi was brought out at Venice and L'Italiana in Algeri at Milan.

The year following was not for Rossini a very brilliant one; and neither Aureliano in Palmira, nor a cantata called Egle e Irene, written for the Princess Belgiojoso, nor Il Turco in Italia—all of the year 1814—did much to increase his reputation. But the success of Tancredi and of L'Italiana in Algeri was enough for Barbaja, who accordingly invited Rossini in 1814 to come to Naples and compose something for the San Carlo. On his arrival Rossini signed a contract with Barbaja for several years; binding himself to write two new operas annually, and to re-arrange the music of any old works the manager might wish to produce, either at his principal theatre or at the second Neapolitan opera-house, the Teatro del Fondo, of which also Barbaja was lessee. Rossini's emoluments were to be 40Z. (200 ducats) a month with a share in the profits of the-gambling saloon. Such an engagement would not seem very magnificent to a second or third rate composer of our own time. But it was better than 40l. an opera, at which rate Rossini had hitherto been paid.