"What voice has the Queen? Soprano or contralto?"

"The Queen's voice is mezzo-soprano," I answered.

"And yours?" he asked.

"Mine is about the same, equally mezzo-soprano."

This seemed to amuse him.

"Do you think the Queen would like to have me write something [quite jocosely] equally mezzo-soprano?"

"I am sure that the Queen," I answered, gushingly, "would be overjoyed."

"Bene," said the great maestro with a smile. "Then I win."

"How enchanting!" I cried, crimson with enthusiasm. "But may I beg one thing?"

"Beg! Je vous en prie."

"Fa dieze [F sharp] is a weak point in both our voices."

"Bene," he said, waving his hand toward his piano. "I will write a duet for you, and only put one G minor in it."

"G minor!" I exclaimed. "Why, that is—"

He interrupted, "Have you ever noticed that G minor is much easier to sing than P sharp?"

He did not wait for my assurance that I did not notice any difference, but said, suddenly, "When do you go to Monza?"

"We are waiting to hear. Perhaps to-morrow."

"Ah," he said, thoughtfully, as if turning over in his mind whether or not he could have the duet ready.

MONZA, October 19th.

Bonghi came yesterday. At the request of the Queen he read aloud my sketch of the Hamlet legend before the promenade en voiture. The Queen thanked me and said that she was going to keep the manuscript, but Bonghi cut my literary wings by pronouncing in his brusque way that, although it was interesting and he liked the contents, it was badly written.

"Chère madame," he said, "you write very well, but you do not know the art of punctuating. You write as the water runs, as the arrow flies; therefore, in reading what you have written I have no time to breathe. I cannot separate the different ideas. A comma means a point d'arrêt, a moment of repose. Every period should be an instant in which to digest a thought."

I felt crushed by this, but tried to defend myself by saying that I had only written it for one indulgent eye, and ended lamely by promising that the next time I wrote anything I would be more careful. "I will do as Mark Twain did—put the punctuations at the end, and one can take one's choice."

We had some music again this evening. The Duke played some solos on his violoncello. He has a beautiful instrument. If Amati made cellos (perhaps he did), he must have made this one.

At dinner I sat next to him.

He said, "I was very much interested in what you wrote about Hamlet."

"In spite of the lack of commas?" I asked.

"Yes, in spite of the lack of commas. But I wonder if all you wrote was true?"

"How can we ever find out?"

"I hate to think of him as a myth."

"Please don't think of him as a myth. Think of him as you always have; otherwise you will owe me a grudge."

Looking across the table to Signor Bonghi, he said: "He is a wonderful man. I like his name, too—Ruggiero Bonghi, tout court."

"It sounds," I said, "so full of strength and power and straight to the point, with no accessories, doesn't it?"

"You say that to me, who have twenty-four names."

"Twenty-four! Dear me! Do you know them all?"

"I must confess that I do not, but I will look them up in the Gotha and write them out for you."

"Twenty-four," I repeated. "How out of breath the priest who baptized you must have been!"

"Oh," cried the Prince, "he did not mind; he got a louis [twenty-franc piece] for each name."

ROME, PALAZZO SFORZA-CESARINI, January, 1887.

My dear Aunt,—After the reception of the Diplomats on the 1st of January we moved from Palazzo Tittoni to this, our new home.

We have in the largest salon an enormous and gorgeously sculptured chimneypiece which has a tiny fire-place that, when crammed full of wood, and after we have puffed our lungs out blowing on it and prodded it with tongs, etc., consents to smile and warm the chair nearest to it, but nothing else.

The ceiling (a work of art of some old master) is way up in the clouds; I am almost obliged to use an opera-glass to see which are angels' or cherubs' legs up there in the blue.

The figures in the corners, I suppose, represent Faith, Hope, and Charity; the fourth must be the Goddess of Plenty. She is emptying an enormous cornucopia over our heads of the most tempting fruit, which makes my mouth water and makes me wish she would drop some of it in my lap.

This palace used to belong to that nice hospitable family you've heard about—the Borgias. I dare say they did a good deal of their poisoning in these very salons.

We were rather agitated the other day when a hole was discovered in one of the walls. I put my hand way down in it as far as I could and pulled out a little bottle which contained some dark liquid. Poison, for sure! It looked very suspicious. Giuseppe, our Italian butler, who is as Italian as an Italian can be, was frightened out of his senses (the few he possesses) and held the bottle at arm's-length.

To test the contents of the vial he put half of it in some food he gave to a thin and forlorn cat who hovered about our kitchen, and for whom Giuseppe cherished no love. However, the cat survived with eight of its lives. Then a rabbit a friend of Giuseppe's wanted to get rid of was given the rest. He also lived and thrived. After these experiments we don't think much of Borgia poisons.

One of the rooms behind the salon (so large that it is divided into four) has the most beautiful frescoed ceiling. It is a pity that it is so dark there that one cannot see it properly. Perhaps originally it was a chapel and the frescoes were easier seen when the altar-candles were burning. But can one imagine a Borgia needing a chapel or a Borgia ever praying?

Just around the corner from us is the campo di fiori (field of flowers), where one might expect to buy flowers, but it is the one thing you do not find there. Everything else, from church ornaments to umbrellas, from silver candlesticks to old clothes, you can buy for a song not so musical as Mendelssohn's "without words"; on the contrary, the buying of the most insignificant object is accompanied by a volume of words screamed after the non-buyer in true Jewish style.

Then around another corner you come across the Torso, made famous by that witty tailor called Pasquino, where he placarded his satirical witticisms; his post-office for anonymous letters!

We have just come home from the Pantheon. There is held every year for the anniversary of King Victor Emmanuel's death a memorial service pour le repos de son âme. If it had been my soul it would never have reposed; it would have jumped up and clapped its wings to applaud the music, which, though always beautiful, to-day was divine.

I even forgot to freeze during the long two hours we stayed in the icy-cold building, open to wind and weather above and full of piercing draughts below. The marble pavement, which has collected damp and mold since 27 B.C., has long since become so wavy and uneven that you walk very unsteadily over it; the costly marbles of which the pavement is made in fine mosaic-work have sunken away from their contours centuries ago, so that now you only realize how beautiful it must have been in its prime.

The high and imposing catafalque, erected for this occasion, which filled the whole center of the large basilique, reaching almost to the dome, was surrounded by enormous candelabra containing wax candles as big as birch-trees.

The ministers of state and the diplomats had a loge reserved for them next to the orchestra, and, although there were carpets and rugs under our feet, the humidity and cold penetrated to the marrow of our stateful and diplomatic bones.

There were tiers of seats for people who were fortunate enough to procure tickets.

Gayarré, the wonderful Spanish tenor, sang several solos, each one more exquisite than the other. I have never heard a more beautiful voice, and certainly have never heard a more perfect artist. The way he phrases and manages his voice is a lesson in itself.

Tamagno, the famous Italian tenor, sings wonderfully also, but very differently. He gives out all the voice he has, and you are overcome with the strength and power and the compass of his unique voice. He is the tenor robusto par excellence of the world.

One cannot compare the two singers. Gayarré has the real quality of a tenor, exquisitely tender, suave, and still powerful. He has a way of keeping his voice bottled up until a grand climax; then he lets it swell out in a triumphal burst.

This funeral service is a very long and fatiguing affair. I pity the carabinieri (the soldiers) who are on service that day. Although they are men chosen for their powerful build, some of them cannot endure the fatigue of standing "at arms" the two hours that the service lasts. I suppose the poor things are put there from early dawn, and there they must stand, stiff and straight, with uplifted sword, without moving a muscle. We saw one (not this year, but last) faint dead away and drop in a heap on the marble steps of the altar. His sword and casque made a great clatter when they fell and rattled over the pavement. Four of his comrades rushed in, picked him up, and carried him out, staggering under his weight. He was replaced by another carabinier noiselessly and so quickly that you hardly knew that anything had happened.

The Argentina Theater attempted to give Wagner's Ring. It was a dismal performance. Wagner is not at his best in an Italian setting, with all the gas turned on and the scenery half tumbling down and the orchestra fiddling in full view.

In the first act of "Rheingold," where the three maidens are swimming, the poor girls, with hair of unequal lengths, sprawled about, their arms clutching at air, and held up to the roof by visible and shaky ropes, half the time forgetting to sing in their wild efforts to keep themselves from falling, separated from the audience only by a gauze curtain which was transparency itself.

DENMARK, July, 1887.

My dear Aunt,—Denmark in July is ideal. It is never too warm in the day and always cool at night.

I have been spending a few days with Howard on his farm.

On the Fourth of July Howard wished to give the peasants in the neighborhood an entertainment to celebrate his country's "glorious Fourth." He hoped to inspire them with due enthusiasm and give them a good day's sport.

The Danish peasant's idea of amusement is to walk leisurely to the place of rendezvous, to sit quietly and rest from his week's hard work, eat plenty of Smörrebrod (sandwiches), drink barrels of beer, have tobacco ad libitum, and finally to leave as lazily as he came.

This feast was going to be otherwise. Everything was to be done à l'Américaine. The Fourth fell on a Sunday, and the farmers all accepted and came on the stroke of the clock, dressed in their Sunday-best clothes, which are of heavy broadcloth, made in the fashion of Louis Philippe, voluminous over the hips, thick, heavy-soled boots, and with long snake-like pipes hanging from their mouths.

Howard had arranged all sorts of gymkhana sports, for which prizes were to be given. There were to be the long jump, the high jump, a running-race, catching the greased pig, pole-climbing, a race in a bag, and so forth.

"They shall have a high old time," said Howard.

Their dismay only equaled their astonishment when they were told what was expected of them. What! Jump, run, and be tied up in bags and climb poles? Was this the way that they were going to amuse themselves on this hot day? Were soiling their clothes, perspiring, and suffering tortures in their tight boots the delightful, reposeful feast they had been invited to? Their inborn politeness would not allow them to do otherwise than obey the wishes of their host. They tried their best to perform the feats put down on the program.

Their week's work of mowing, cutting trees, plowing, threshing, and the different things belonging to a farmer's life seemed child's play compared with this so-called enjoyment.

They did not understand why they got prizes for deeds they had not done, and received the box of cigars or silver mug with unperturbed serenity.

Consternation and resignation were the only expressions on their faces. Neither did they understand when they were told to cry "Hurrah!" and wave their hats after Howard should finish his oration. That he made standing on a table. He expatiated on the beauty of liberty and the soul-inspiring feeling of independence, and became quite eloquent. They cheered in a spiritless and cheerless manner. For them liberty was a high-sounding word which meant nothing. An enlightened government provided them with all they needed. Why have the bother to choose your doctor or your priest when all that is done for you? Only to pay taxes. Can anything be more simple?

The games H. tried to teach them were not successful. They stood in a circle and were told (Howard rubbed his hands in a dainty manner) that "this is the way we wash our clothes." This did not appeal to them; they knew too well how they washed theirs, and they saw no fun in imitating such every-day affairs as washing and ironing.

Every way "we did" things had to be explained at length and translated into Danish. And the most inexplicable of all the games was "Oranges and lemons." When they were asked if they wanted oranges or lemons; they all answered, truthfully and conscientiously, "Oranges." Who in his senses would prefer a sour lemon to a juicy orange? The result was that the battle was very one-sided—all oranges and only one lemon.

The dance was also rather dismal. The musicians played some national waltzes, and the guests shuffled about on the sanded floor, treading a slow measure and on one another's toes; the women held on to their partners by their shoulders, and the men clutched the women round their bulky waists. However, they all kept the measure, and some of the men really danced quite well.

The finale was the fireworks. It ought to have been a grand display, but the rockets were damp, the "wheels," which ought to have wheeled up in the air, merely whizzed on the ground and seemed to make for the nearest guest in an absolutely vicious manner. All the things that ought to have gone off stayed and sputtered.

As an entertainment it was a failure. The guests, however, had plenty to eat and drink, and carried away pockets full of tobacco and cigars, but it was rather pathetic to see the worn-out and weary farmers dragging their tired limbs slowly and ponderously down the avenue with a look of "Why all this?" depicted on their faces.

MONZA, October 17th.

After luncheon to-day we went out on the terrace to drink our coffee. The sun was warm and the air deliciously cool, a typical Italian autumn day. As we sat there we heard some mysterious noise which came from the side of the park where the avenue terminates and is divided from the deer-park by a large iron gate.

Looking down the avenue, we saw a man peering through the bars of the gate. He had a bear with him. Her Majesty was curious to see them and ordered the gate unlocked and the man and the bear permitted to enter. The man was quite young, with soft black eyes and dazzling teeth. He led the bear by a heavy iron chain passed through a ring in its nose. The Queen went down the steps and talked with him.

"Will he bite me if I pat him?" she asked.

"No, signora; he is very good" ("E molto buono"). He hesitated a moment, and then said, "Signora, will you tell me which of the ladies there is the Regina?" The Queen was immensely amused, and answered, "I am the Queen" ("Son io la Regina"). The young fellow was quite overcome, and threw himself on the ground and kissed the hem of her dress.

"How did you tame the bear?" inquired her Majesty.

He answered in a very agitated voice: "Maesta, it was very easy. Bears are not difficult to tame. One must only be kind and patient."

"You look," said the Queen, "as if you were very kind and patient."

The young Italian passed his hand lovingly over his companion's shaggy head, and as he looked up at the beautiful and smiling Queen his eyes filled with tears. "I love him," he said, simply; "he is my only friend." We, who stood near enough to hear, were trembling on the verge of weeping. He added, "We never leave each other; we eat and sleep together, and all I have I share with him."

I saw tears in the Queen's eyes, which she quickly wiped away; and, turning to the man, she asked, "Can he do any tricks?"

"Si, maesta, he can lie on his back and put his paws up in the air and hum."

This did not seem much of a trick, probably being a bear's customary attitude.

"Well," said the Queen, "let us see what he can do."

But, although the bear was addressed in terms of tenderest endearment and although we hoped that he would obey his master and do honor to the occasion, he did nothing of the kind. On the contrary, instead of lying down and humming he stood up his full height on his hind legs and began to waltz, swaying his long, plump body and shaking his thick, brown fur.

He opened his mouth wide, showing his white teeth and his great red tongue, and looked as if he were laughing and as if it was the funniest thing in the world that he was doing.

"He does not seem to be very obedient," smiled her Majesty.

"He is afraid," said the man, trying to make excuses for his pet.

"You must come again," said the Queen, "when your bear is better trained," and, turning to Signor Borea (her chamberlain), told him to give the man some money and direct him to the forester's lodge, where some food should be given to him.

The young Italian's face beamed with joy when he beheld the vast sum (twenty lire) he had received, and led his disobedient companion away in disgrace; but the bear, quite unconscious of being in disgrace, turned his head for a last friendly glance, walked on his hind legs in his clumsy and swaggering manner, but with a certain dignity, down the avenue.

The King, who was with us on the terrace, had been a silent witness of the whole scene, and, not being able to resist the promptings of his kind heart, followed the couple. We saw him put a gold piece in the brown palm of the poor fellow, whose "only friend" had failed him on this unique occasion. He seemed quite overcome by this Danaë-like shower of gold, and hesitated before taking the piece, thinking, perhaps, that on this occasion honesty might be the best policy, and said:

"The Queen has already given me much."

"That does not matter," said the King. "You must take what I give you. Do you know who I am?"

"No, signor. Are you Garibaldi?"

The King laughed. "No, I am not Garibaldi; I am the King."

This second surprise was too much for the little man, and he almost fell down in his emotion.

What his dreams were that night must have been like one of the Arabian Nights.

REGGIO, October 17th.

Dear ____,—Count Spaletti has a very fine château (a large park and a beautiful forest), where he and his family live in patriarchal style. It is the true Italian traditional home-life in every respect.

There is on the farm a large building in which the famous Parmesan cheese is made. We were shown the entire process from the milking of the cows down to the great wheels (which look like millstones) and the completed cheese. Milking is a process with which you are, perhaps, not familiar. It is done with the help of a maiden and a three-legged stool, while the cow goes on chewing the worn-out cud of her last meal, occasionally giving a Cenci-like glance of approbation.

But I won't tell you about that; I will let you in the secrets of Parmesan-cheese making, so that when you are eating it grated on macaroni you may know what an old stager you have to do with. The milk is put in great vats just as it comes from the mesdames les vaches; there it remains, occasionally turned around, not churned, with a wooden paddle, until it becomes a solid substance.

When it is hard enough to handle it is put into large round wooden forms and allowed to remain untouched—for how long do you think? One year! Then they put it under the oil régime—that is to say, olive-oil is poured through the cheese at regular intervals until the rind is as black and thick as leather. In four years it is ready to be sold. Each cheese weighs several hundred pounds, is a foot thick, and is as big as a cart-wheel. We eat it every day for luncheon and dinner. I like it so much better, fresh and straight from the farm (if anything four years old can be called fresh), than when stale and grated.

ROME, 1888.

My dear Aunt,—Leo XIII.'s jubilee has been the means of bringing the world to Rome. Every day during these last weeks we have watched the carts passing our house piled with huge cases which contained the presents destined for the Holy Father.

The streets are filled with pilgrims from everywhere. One cannot look in any direction without seeing processions of nuns, priests, and monks of all nations and denominations, from the dingy brown Franciscans, the Capucines with their white mantles displaying their bare legs, to the youthful disciples of the Propaganda in their brilliant scarlet cassocks, not to speak of the forestiere armed with their red Baedekers, who are doing Rome and at the same time doing the Pope's Jubilee.

Everything and every one on the way to the Vatican.

We went to see the gifts, which are exposed in many rooms on the ground floor of the Vatican. There was an enormous quantity of things of every description, useful, ornamental, and superfluous. The windmills, bells, every sort of vehicle, rowboats, sailboats, and every modern invention had been put out in the Vatican gardens.

You can have no idea of the incredible amount of slippers sent (thousands of them); church vêtements by the hundreds, embroidered by millions of women who must have worked themselves blind; the most exquisite articles of needlework, incrusted with pearls and precious stones which have probably cost a mint of money.

The Princess del Drago's gift was a large diamond cross with an enormous emerald in the center, an heirloom from her mother, the Queen of Spain. There were many other private gifts which were equally valuable. Almost a ship-load of canned fruits and vegetables sent from America; these were arranged in a gigantic pyramid. Just to look at them made my mouth water and me homesick.

Ridiculous objects from naïf donors, such as babies' socks and jackets, and silver things for a lady's toilet-table, and other equally inappropriate things, must have surprised the Pope when he saw them. I have not mentioned the millions of francs the Pope received in money; he can easily dispose of that; and he intends, I believe, to make presents to every church in Italy of the different objects which can be useful. But what can he do with the babies' socks?

On last Thursday the Pope said mass in St. Peter's. It was the great event of the year.

As we are accredited to the Quirinal, of course I never can have the opportunity to be received by his Holiness; therefore I was very glad when the monsignore who is still Dantefying us offered to give me a carte d'entrée.

I was obliged to be at St. Peter's at a very early hour, and succeeded, owing to having a "friend at court" (the Swedish chamberlain to the Pope, Marquis de Lagergren), in getting an excellent place where I had a good view of the Pope and the whole ceremony. Ladies are dressed entirely in black, with black veils instead of hats, on these occasions.

There was a great deal of noise in the church—much scraping of chairs, rather loud talking, people being shown to their seats, and, above all other noises, the organ.

I cannot honestly say that the music was beautiful. With the exception of the days when the best singers of the Pope's choir sing, the music in St. Peter's is not good. The organ is as antiquated as the organist, who plays with all the stops pulled out.

The center of the church was filled with wooden benches and chairs. The altar was brilliantly lighted with hundreds of wax candles; the columns around it were hung with tawdry red damask curtains, which, in my opinion, rather took from the dignity of this magnificent church.

The Swiss Guards ushered people to their seats. They looked very picturesque in their costumes of bright red and yellow, slashed sleeves, and brass helmets.

In due time the serious and somber chamberlains, in their black satin and velvet costumes, appeared; next came the bishops, in their purple robes; and directly preceding his Holiness the Pope were the cardinals, in red. Then came the twelve men carrying the gold pontifical chair in which the Pope was seated; they walked very solemnly and slowly.

Every one dropped on his knees, and the Pope raised his thin white hand to bless the kneeling crowd.

He mounted the steps of the high altar and began reading mass. His voice was very feeble and scarcely audible.

It was very impressive. It would be impossible to give you an idea of the intense solemnity of this scene, especially for me, as I have no talent for description. Women wept and waved their wet handkerchiefs; the sterner sex would have done the same, I dare say, if they had not been ashamed to show so much emotion.

March 10, 1888.

The Emperor Wilhelm of Germany died yesterday. Though he was so very old, the news of his death was unexpected and cast a gloom over Rome. Of course, all gaieties are ended, and court mourning ordered for three weeks. King Umberto left directly for Genoa to meet the new Emperor, who started from San Remo on his way to Berlin. The dinner for King Umberto's birthday, which was to have been on the 14th, has been décommandé.

The Prince of Naples has already left for Berlin to represent the King at the Emperor's funeral—his first official act since he has become of age.

May 1, 1888.

My dear Aunt,—My letters are very uninteresting. I cannot help it. There is nothing going on in society. In fact, many of the Italians have left Rome, and the colleagues are resting on their oars—those who have any to rest on. I am resting on my "Pinafore" oars. How lucky we had it when we did!

Taking advantage of this moment of inactivity, the Roman ladies arranged a charity performance, for which Marquise Del Grillo (Madame Ristori) promised to give her services. She chose the famous play "Marie Antoinette," which is supposed to be one of her best. The tickets were to be procured only from the ladies of the committee (of which I was one), and, though they cost a fabulous price, the theater was crammed to suffocation.

Madame Ristori's acting was, of course, perfect, her voice musical, her Italian delicious, and her gestures were faultless. If one might dare criticize such an artist, one could say that her movements might have been a little more queenly, but a queen's grace and dignity must be very difficult to acquire from sheer imagination. Also her dress was far from what it ought to have been. I am sure no French dressmaker had the making of that gown. In the first act Marie Antoinette, in the apothéose of her glory, wore voluminous skirts and crinoline, according to the famous picture. Madame Ristori wore a crinoline, to be sure; but her dress was too short in front and showed her low-heeled shoes of white satin, and when she moved about her gown of heavy brocade swayed from side to side like a pendulum.

One recognized the great artist in the scene in the prison, where she bade the king and her children adieu. This was very touching, and there was not a dry eye in the audience. I know that I sniffed and wept and blew my nose, and was quite ashamed of showing my feelings so explosively.

I went to see her on her reception-day (the next Friday) and found her in her every-day surroundings, her pretty daughter hovering about with teacups and cakes, everything looking very home-like and prosaic, and Marie Antoinette eating sandwiches with a healthy appetite and talking of the latest gossip. I could hardly believe that I had shed so many tears over her sad fate a few nights ago.

The sad news of the death of Emperor Frederick came day before yesterday from San Remo. Every one had been expecting his death for months. The Italians loved him, and mourn him as if he had been their own. There is court mourning for three weeks.

MONZA, October 1, 1888.

My dear Aunt,—You ought to have a map of Europe continually under your eyes, and little pins to stick in the places where we last were. Space and distance are nothing to your "wandering jew(el)s." Going from Italy to Denmark and back again twice a year, we are obliged to traverse the whole of Europe, and, as "all roads lead to Rome," we can choose the one we like best.

Wherever we go we are enigmas to our fellow-travelers, who can never decide what nation we belong to. Johan talks Danish to me; we talk French to the governess, German to the valet, Italian to my maid, and English alternately. I think we would have puzzled the builders of the tower of Babel at that confusing moment when they all burst forth in unknown tongues.

ROME, October 15, 1888.

My dear Aunt,—We are having a series of entertainments in honor of the new Kaiser. This is his first official visit since he has become Emperor. He arrived here on the 11th at four o'clock.

We were invited by M. and Mme. Huffer to see the entrée. They being Germans, their decorations surpassed all others. Carpets out of every window, flags flying, and the German coat of arms placed in every available spot on their beautiful palace in the Via Nazionale. The King, accompanied by the Prince of Naples, followed by the Duke of Genoa, Duc d'Aosta, M. Crispi, Marquis Gravina, and Marquis Guiccioli, and other notabilities, drove to the station through a double line of troops on both sides of the street.

The usually dirty waiting-room in the station was hung with tapestries taken from the Quirinal and the splendid Louis XV. furniture taken from the beautiful Palace of Caserta.

The train which preceded the Emperor's, decked out with garlands and flags, came in sight, the traditional red carpet was laid down, the final orders shouted, and the Imperial train appeared. The soldiers presented arms, and the military bands struck up the German national hymn. The King wore the uniform of a general. He advanced to meet his Imperial guest. They embraced and kissed each other on both cheeks, then they presented the princes and the different members of their suites.

The Emperor was in the red uniform of the Hussars and looked very young and handsome.

In the first berline (as they call the demi-gala blue landaus) were the Emperor and the King; in the second were the Prince of Naples and Prince Henry of Prussia (the Emperor's brother); in the third the Duc d'Aosta and the Duke of Genoa; in the fourth, Count Herbert Bismarck and the German Ambassador (Count Solms). The other carriages, of which there must have been ten, contained the military and civil members of both the sovereigns.

There was a great demonstration in front of the Quirinal Palace. The Emperor and the King came out on the balcony amid screams of "Eh! viva!" One old man—a German, I suppose—who was covered with medals shouted at the top of his lungs. "Hoch!" hoping to make a sensation, but the Emperor made no sign that he heard it.

The next day (Friday), as had been arranged long beforehand, the Emperor made his visit to the Pope; the carriage from the Quirinal brought him to the residence of Herr von Schlözer (the German Minister to the Vatican), where the Emperor lunched and changed his uniform.

Schlözer's account of the luncheon was very amusing. His household was apparently not arranged for the reception of emperors. He and his secretary were in great straits to provide the proper luxuries for their august guest. Schlözer possessed nothing so frivolous as a mirror, therefore he sent to borrow ours. We sent him the one we thought best suited to the occasion. It was so different from Schlözer's modest belongings that the Emperor's quick eye guessed instantly that it was a stranger, and said, "Where did this come from?"

I give you Herr von Schlözer's account in his own language.

"I had no extra toilet things to put into the Emperor's room, but, fortunately, I had bought a cake of soap in Berlin; this I put on a piece of marble I had picked up in the Forum, which I thought would do for a soap-dish. The Emperor went into the adjoining room to change his uniform, and suddenly appeared in the doorway, holding out his wet hands, and said, 'Mein liebe Schlözer, can't you give me a towel?' Donnerwetter! said Schlözer, that was the one thing that I had forgotten."

The luncheon was (excepting the famous wines on which he prides himself) of the simplest kind of Italian repasts, of which macaroni, frittura mista, and cutlets with saffron (à la Milanais) formed the chief feature. The Emperor was in the best of spirits and enjoyed it all, interlarded as it was with Schlözer's unique remarks.

The Emperor's own horses and carriages and piqueurs (brought expressly from Berlin for this one visit to the Pope) were waiting before the German Legation to convey his Majesty and Herr von Schlözer to the Vatican. The whole route through which they drove was lined with a double row of the national troops to the very steps of the Vatican. Every window was filled with people anxious to catch a glimpse of the handsome and youthful Emperor as he passed by in his open victoria; Prince Henry and Count Bismarck followed in another of the Emperor's carriages.

At the early hour of half past nine the haute société, the Ministers, the Senators and Deputies—in fact, all Rome—were summoned to meet the Emperor at the Campidoglia. It was to be lighted for the first time with electricity—a great event. People were to meet in the statue-gallery. After all were assembled, the King, the Queen, and the Emperor entered, followed by the princes and their different suites. The Emperor was dressed in the uniform of the garde de corps (all white) with a silver breastplate and silver helmet. He was an apparition! and did not look unlike one of the statues. Or was he a Lohengrin who had come in a swan-drawn skiff down the Tiber to save some Italian Elsa?

There were some presentations made. I, for one, was presented to his Imperial Majesty, and was charmed with his graciousness. We talked English, which I think rather pleased him, for he made some facetious remarks on things and people and actually laughed.

The next evening, the 18th, the fireworks and the illumination of the Forum, the Colosseum, and the Palatino, were the entertainment after a dîner de famille.

The Diplomatic Corps was bidden to the Villino. The place was rather too small to contain all the guests. Fortunately, it was a pleasant evening; there was a full moon which lent charm to the scene. Bengal lights, to my mind, are the cheapest form of illumination, but the fireworks—for which the Italians are so renowned—were splendid. Rockets of all colors, bursting in mid-air and sending down showers of lighted balls, were never-ending, and everything belonging to pyrotechnics was in profusion and perfection.

The bouquet (which is the French for the apothéose) surpassed everything I had ever seen before. It lasted several minutes. When everything has burned out, only the brilliant "W" with an Imperial crown remained, and faded gradually away.

ROME, March, 1889.

Dear Aunt,—Rome is placarded all over with blood-curdling pictures of "the Wild West Show" and portraits of our friend Buffalo Bill. I call him "our friend," although I can't say I know him very well. We traveled in the same car with him for a whole week on our way to California ten years ago. That is not enough, is it?

I had never seen a Wild West Show and was most eager to go; besides, I wanted to see "our friend" in his professional character. We made up a large party and went there en bande.

The tents were put up not far from the Vatican gardens, behind Castel St. Angelo. None of us had ever been to such a performance, and we were all delighted at the marvelous feats of lassoing by the cowboys and the rifle-shooting of the cowgirls, who looked so pretty in their short leather skirts and leggings. One of them threw pieces of silver in the air and shot them in two with her rifle. Everything was wonderful.

Duke Sermoneta, who went with us, having read on the posters that Buffalo Bill professed to tame any wild or vicious horse, wished to test Buffalo Bill's ability, and perhaps with a little maliciousness had ordered some of the wild horses from his estate to be brought to Rome.

These untamed horses are like those that used to run in the corsi dei Barberi during the carnival in Rome when Rome had carnivals. The Duke was very sure that no one could tame them, much less put a saddle on them; the audience, no doubt, thought the same. There was quite an excitement when the frightened things came rushing into the arena and stood looking about them with terrified eyes. But the cowboys knew very well what to do. They quickly lassoed them, and somehow, before we could see the whole process, they were forced to the ground, plunging about and making desperate efforts to get up. Finally, after many attempts, a saddle was placed on them, and lo and behold! the ferocious wild horses were conquered and, as meek as Mary's little lamb, were ridden around the arena to the accompaniment of great clapping, screaming, and applause. Every one was as enthusiastic as the Duke Sermoneta over the stubborn and agile young Wild-Westers. Then Buffalo Bill's herald came forward and proposed that the Italian campagna boys, who had brought the Duke's horses, should mount the American bucking horses. The Duke gave his consent readily. He was very willing that his men should show what they could do. Well, they showed what they could not do; they could not keep on the horses a minute, even if they managed to get on; they turned somersaults in every direction, fell off, and rolled about on the ground. The audience roared.

Buffalo Bill appeared on a beautiful horse, holding his gray sombrero in his hand, acknowledging the applause. He looks very handsome with his long, fair hair falling on his shoulders and his Charles-the-Second fine face.

The Duke said, "How I should like to speak to that man!"

We said that we knew him and that perhaps we could get him to come to us. I wrote on my card: "It would give M. de Hegermann and myself much pleasure to speak with you. We traveled in the same train with you to California some years ago, if you remember." I sent the card by a little page who was selling popcorn. At the first opportunity Buffalo Bill came, preceded by the boy. He said he "remembered us perfectly." I introduced him to the Duke, who, after having complimented him on his "show" and laughed over the awkward attempts of his boys, asked him if we might see the camp.

No gentleman from the court of Louis XV. could surpass Buffalo Bill's refined and courteous manners. He said if we would wait until the performance was over he would "show us about."

We did wait, and went all over the camp with him, and saw everything that was to be seen, and smelled the different fried things which lurked in every corner. Buffalo Bill beckoned to some of the cowboys to come forward and named them to us. I think they were delighted. They had such good, honest (and even handsome) faces. My heart warmed to them.

One said to me, "Why, you talk English as good as an American!"

"That is not wonderful," I answered; "I am an American."

"Is that so?" he asked. "Well, America's a pretty good place, ain't it? A good sight better than over here—that is what I think," and, pointing to the Duke Sermoneta said, "Is that gent American, too?"

"No," I answered. "He is an Italian. Those were his horses you tamed this afternoon."

"Is that so? Well, I would not like to tell him that them boys of his can't ride worth a cent and the horses ain't worth their hide."

I hoped that Duke Sermoneta had not overheard this conversation.

Buffalo Bill showed us a young Indian woman who had had a baby a few days ago.

"It was baptized this morning," he added. "What do you think it was called?"

"Is it a boy or a girl?" asked the Duke, looking at the brown, wizened face of the little thing, which was swaddled in an old shawl.

"A girl," answered the young mother, in English.

"Then I suppose you called it Roma," I said.

"No," said Buffalo Bill. "It is the custom among the Indians to give to the baby the name of the first thing the mother sees after its birth."

"Then they must have named it Tent," I said.

Buffalo Bill laughed. "No, you must guess again. It was called Saint Peter's."

"Poor little girl!" said the kind-hearted Duke, and put a gold piece in the ready and delighted hand of the mother.

ROME, 1890.

Dear ____,—Signor Sonsogni, the promoter of music and art, gave several librettos of operas to different composers in Italy, and promised a large reward to the victorious competitor.

Signor Crispi kindly offered me his loge, thinking that it would interest me to be present at one of the performances. There had been many of these before, but nothing remarkable had so far been produced.

We arrived in the theater while they were playing a short opera of two acts, which was unfavorably received and quickly condemned with contempt and hisses.

The judges looked bored to death and discouraged, and the audience seemed ready to growl and grumble at anything.

Mugnoni led the orchestra in his usual excitable manner. If any of the operas had been good for anything they would have shown at their best under his masterful baton.

Then came the "Cavalleria Rusticana."

Already when the overture was played the audience was enchanted, and as it progressed the enthusiasm became greater and greater, the excited audience called for the autore (author).

Mascagni, urged and pushed forward from the sidewings, evidently against his will, appeared, looking very shabby in an old gray suit with trousers turned up, as if he had just come in from the street. His hair was long and unkempt, his face haggard and thin—evidently he had been starved and unwashed for weeks. This really was the case.

He bowed modestly and with a naïf awkwardness which was very pathetic. The Italian public, just as wild in its enthusiasm as it is merciless in its disapproval, rose as one man with a bound and cheered vociferously. But when the Intermezzo was played there was a burst of thundering applause, clapping of hands, and shouts of enthusiasm. I never heard anything like it.

Mascagni was called at least twenty times before the curtain. Any other composer would have beamed all over with joy and pride at such an ovation, but Mascagni only looked shy and bewildered. The tears rolled down my cheeks as I looked at the poor young fellow (he is only twenty years old), who probably that very morning was wondering how he could provide food for his wife and baby. Fancy what his emotions must have been to wake up so unexpectedly to glory and success!

FRANCESCO CRISPI. Prime Minister of Italy. From a photograph taken in 1887.

FRANCESCO CRISPI
Prime Minister of Italy. From a photograph taken in 1887.

Mascagni, his wife, and his baby lived in a garret, and had not money enough to buy even a candle. The only instrument he had when he wrote the opera was an accordion. His little wife is nineteen, and the baby is one year old.

Italy thought it possessed another Verdi. The next day after his triumph Leghorn (his birthplace) gave him the citizenship of the town. Sonsogni handed him a large sum of money (the promised prize), and Mascagni had orders to begin on another opera. Will that be as good? One says that necessity is the mother of invention; it seems that in this case poverty was the father of "Cavalleria Rusticana."

1890.

Dear ____,—Johan is named to Stockholm, and we must leave Rome. Needless to say that I am broken-hearted to leave Italy and the Queen.

MILAN, September 16.

Dear ____,—We went yesterday to bid good-by to their Majesties, who are at Monza, and for J. to present his letters of rappel.

We arrived in time for luncheon; there were no other guests.

After luncheon we sat out under the trees by the side of the pretty lake; there was an awning put there, and we stayed all the afternoon in the shade of the large trees which bordered the lake. The King was very gay; he wanted every one to row out in the small boats that were there; then he and the Prince took another boat and tried to collide. The King pretended that he could not row, and made such hopeless attempts that all those in the other boats were splashed with water.

On taking leave of her Majesty, which was done with a great deal of weeping on my part, she handed me a beautiful sapphire-and-diamond brooch and a very large photograph signed by her dear hand en souvenir. The King gave Johan his photograph and the decoration of la couronne d'Italie. The day passed only too quickly. I cannot tell you how miserable I was to take leave of their Majesties, who had always been so kind and gracious to me.

But what use is it to mourn my fate. Nothing can change the fact that we are bidding good-by to Italy.