It was a period in which the public loved infant prodigies, both musical and dramatic, and Marietta was actually permitted to sing the part of Agnese throughout the rest of the scene—a piece of audacity which delighted the hearers and called forth an exhibition of true Italian enthusiasm. Two years after this the tiny musician commenced to study solfeggi with Panseron, while Hérold gave her the first instruction on the piano.

In the autumn of the year 1815 an event occurred which brought the Garcia family into a vivid realisation of the changes which had been taking place in European affairs during the earlier part of the year, with the battle of Waterloo.

The closing scene is well described in Colletta's 'History of Naples':—

Manuel Garcia was in his eleventh year when the tragedy took place, and in after years would recall the sensation which the gruesome incident made among the Neapolitans.

Almost immediately after Murat's death the Neapolitans found cause for great affliction and terror in the appearance of the plague, which seemed to them almost a judgment from Heaven.

Eagerness for gain by men carrying on illicit trade caused its introduction with some goods from Dalmatia.

The first death occurred on November 23, 1815, but a cordon was not placed round the city till six weeks later; traffic went on as usual, people left the city and returned, and merchandise was carried into the provinces and as far as Naples. Fortune, however, or divine providence, saved the kingdom and Italy, for out of the number of men and quantity of goods leaving Noia, none happened to be infected.

At last, on January 1, precautionary measures were taken, and the unhappy city was surrounded by three circuits of ditches, one at a distance of sixty paces, the next at ninety, and the third, which was rather a boundary-line than a barrier, at ten miles. Sentries were placed along these, and numerous fires lighted up the country at night. Whoever dared to attempt passing the line was punished with death; and more than one case is recorded of a poor wretch, maddened with the horrors of the town, rushing across the boundary-line, only to fall instantly under the musket-fire of the soldiers.

Throughout the winter the Garcias, in common with the other inhabitants of Naples, lived in constant fear that the plague might break out in the town.

The scene which took place is well described by Colletta. The opera company, it appears, were on the spot rehearsing when the fire broke out, and at once fled in consternation. Their cries, with the volumes of smoke issuing from the building, made the danger known, and people hastened from all parts of the city, but too late. The conflagration spread, the king and royal family left the palace which adjoined the theatre, and the fire, catching the whole of the immense structure that composed the roof, sent forth raging and brilliant flames, which were reflected on the Monte St Elmo and in the sea below. The sky, which had been calm, became stormy, and the wind blew the flames in the direction of Castel Nuovo, until they licked the bare walls of the castle.

Happily the danger did not last long, for in less than two hours the noble structure was burned to ashes; and the mistake of having from financial avarice abolished the company of firemen was now acknowledged too late.

IN the spring of 1816 the elder Garcia left Naples, and with his family set out for Paris, which he had decided to make his home once more.

When he had last been in that city, upwards of four years previously, Napoleon had still been all-powerful; when he returned Louis XVIII. was on the throne and Bonaparte in hopeless exile at St. Helena.

After he had settled down he continued the singing lessons of his son, whose general education was looked after by private tutors,—Reicha, Basbereau, and others. As to himself, he was at once engaged as primo tenore at the Théâtre Italien, then under the management of Catalani,—a woman whose story we will dwell on for a moment.

At the age of sixteen she obtained her first engagement at the Fenice Theatre in Venice, and thence she went to other opera houses in Italy, meeting everywhere with wonderful success.

In the year of Manuel's birth, Catalani signed her first agreement with the managers of the King's Theatre in the Haymarket at £2000 per annum, and remained in England for seven years. She was, however, a prima donna of the deepest dye, capricious as she was extravagant. Neither would her disposition endure the possibility of rivalry, nor would the size of her increasing demands allow the managers to engage any other singers of position. At last with the close of 1813, having unsuccessfully attempted to purchase the King's Theatre outright, she fell out with the directors and left London.

In the autumn of the year the tenor and his family paid their first visit to England, but only made a short stay. The little daughter Maria, who was now eight years old, accompanied them, and was left in England for some years, her education being carried on in a convent school at Hammersmith. It was to this fact that in after life she owed her success in this country as a singer of oratorio and English songs.

Upon the elder Garcia's return to Paris, the "Caliph of Bagdad" was revived, as well as another of his operas, "Le Prince d'Occasion." As primo tenore of Catalani's troupe, he appeared as Paolino in Pergolesi's "Matrimonio Segreto," and sang in all the operas which were in vogue at that time,—a very different repertoire to that which audiences are accustomed to hear nowadays.

At last an unfortunate quarrel arose between Catalani and himself, and at the end of 1817 he went once more to England. This was only a few months after "Don Giovanni" had been given in England for the first time at the Italian Opera House, with Mesdames Fodor, Camporese, and Pasta; Signori Crivelli, Ambrogetti, and Agrisani.

In 1819 he returned to Paris and became once more a member of the company at the Théâtre Italien, Catalani having failed and resigned the reins of management during his absence in England. Here he repeated his old success in "Otello" and "Don Giovanni," and also took part, on October 26, in the first performance of "Il Barbiere" ever given in Paris, at the Salle Louvois. It was again received coldly, as had been the case on the original production in Rome three and a half years before. Once more the critics demanded the "Barbiere" of Paisiello, which was accordingly put on the stage at the Théâtre Italien, only to meet with dismal failure; and thus in the end Rossini triumphed with it in the French capital, as he had in that of Italy.

The cast of this Parisian première was as follows:

In addition to appearing at the opera Garcia père continued to compose prolifically. "La Mort du Tasse" and "Florestan" were produced at the Grand Opera, "Fazzoletto" at the Théâtre Italien, and "La Meunière" at the Gymnase, while three others were finished but never performed.

In the spring of the following year, in which took place the accession of George IV. to the throne of England, Manuel Garcia paid a flying visit to Spain. It was destined to be the last time he ever saw his native country. The fact is a curious one when we remember his intense love for Spain, which was so strong that, in spite of his spending the last fifty-eight years of his life in England, nothing would have induced him to become a naturalised British subject.

On his return from Madrid he commenced the study of harmony, for, as has been already stated, his father was a firm believer in the necessity of every singer being a musician in the broadest sense of the word. For this work he was placed under François Joseph Fétis, who had just succeeded Elen as professor of counterpoint and fugue at the Conservatoire. This was six years before Fétis became librarian of the institution—a position in which he was enabled to prepare his famous 'Biographie Universelle des Musiciens,' which is one of the greatest monuments to the achievements of musical genius ever reared. He was indeed a remarkable man, who displayed talent not only as teacher, but composer, historian, critic, and author of various theoretical works.

In 1821, the year of Napoleon's death, Manuel's youngest sister was born—Michelle Ferdinande Pauline,—who was in after years to become no less famous than Maria. The second and third names were given her in honour of her sponsors, Ferdinand Paër and Princess Pauline Galitzin.

He made his reappearance at the King's Theatre in May in Rossini's "Otello," given with the following cast:—

In speaking of his return to London, the 'Harmonicon' tells us: "Garcia's voice has an extensive compass and considerable power, and is round and clear. Its flexibility is remarkable."

On June 5 we find the tenor taking part in the first performance of Rossini's semi-serious opera, "Ricciardo e Zoraide," with this cast:—

Four weeks later he is appearing at the première of another of Rossini's works with the strange title, "Matilde di Shabran e Corradino, ossia Il Trionfa della Belta," with the principal parts distributed thus:—

From all this, it will be seen that Manuel Garcia lived in a musical world day and night. Awake or asleep, music and musicians surrounded the boy.

At the close of the London season his father returned to Paris.

An exceptional insight into the musical and artistic circles of the French capital at this time, when Manuel was a young man of eighteen, is given by the following paragraph from a paper of that day:—

"On November 15 some of the principal musical composers and theatrical performers of Paris united to give a dinner to Signor Rossini, in the great room of M. Martin, Place du Châtelet.

"When the dessert was served, M. Lesueur rose and gave the following toast—'To Rossini! whose ardent Genius has opened a new path and formed an epoch in the art of music.'

"Signor Rossini replied by this toast—'To the French School, and to the prosperity of the Conservatoire.'

"M. Lesueur then gave—'Gluck.'

"Signor Garcia proposed—'Gretry! the most sensible and one of the most melodious of French musicians.'

"Signor Rossini then gave—'Mozart.'

"M. Boieldieu offered his toast in the following words—'Mehul! I see Rossini and the shade of Mozart applaud this toast.'

"M. Hérold proposed—'Paisiello! Full of ingenuity and passion, he rendered popular in all parts of Europe the Italian School.'

"Finally M. Panseron (for M. Auber) gave—'Cimarosa! the precursor of Rossini.'"

With this the proceedings were brought to an official close and an unofficial commencement of others, which were doubtless continued into "the sma' wee hours."

In the January of 1824 the Garcias returned to England once more, for we find the following announcement made in one of the London musical papers—

Mesdames—Ronzi di Begnis, Colbran Rossini, Pasta, Vestris, &c.

Signors—Garcia, Curioni, Franceschi, Remorini, di Begnis, Porto, &c.

Conductor—Signor Coccia.

Leader—Signor Spagnoletti.

Poet—Signor Vestris.

In the Ballet will appear—Mme. Ronzi Vestris; Mdlle.
Legras, Mdlle. Idalise Grener, Mdlle. Noblet; M.
Albert, M. Charles Vestris, M. Ferdinand, &c.

Principal Ballet-master—Mons. Aumer."

The season opened on January 24 with "Zelmira," a new opera conducted by "the universally fashionable composer of the day, Signor Gioacchiso Rossini."

How strangely reads the repertoire of the representations given at the King's Theatre during the next months! Two only are heard at Covent Garden nowadays, and those but rarely—"Don Giovanni" and "II Barbiere," which latter was given with Mme. Vestris as Rosina, di Begnis as Bartolo, Benetti as Figaro, and Garcia in his old part of the Count. One may perhaps add to the number of those still heard occasionally the "Nozze di Figaro"; but this is only given at the most attenuated intervals.

But there are other musical events worthy of attention during these months.

We read that "Master Liszt, the young German pianist, had a concert at the Argyll Rooms, when he exhibited talents that astonished all the leading professors who were present."

Further, we find Signor Rossini giving two subscription concerts at Almack's Rooms,—how strangely the names of the fashionable concert rooms of the past sound to us now!—"Tickets two guineas."

They are announced "To Begin at Nine o'clock"; while the composer has the assistance of the leading operatic artistes of the day—Catalani, Pasta, Vestris, Garcia, di Begnis, et hoc genus omne.

But what is of especial interest is the fact that Rossini not only conducted, but sang. He gave "a cavatino (sic) from Figaro," and a duetto with Mme. Catalani, "Se fiato in corpo avete" by Cimarosa.

The second of these subscription concerts, given on June 9, 1824, is worthy of our attention, for we find "Mdlle. Maria Garcia" making apparently her first appearance in London, taking part with her father in a duet, "Di Caprici," and adding a solo, "Nacqui al'affano," both by Rossini.

Two months later the entire family went to London, and here Maria's musical education was continued in the singing-class which her father had established. The elder Garcia was again engaged as first tenor at the Royal Opera, his salary having now risen from £260 (1823) to £1250. Here he continued to gain still greater fame as a teacher, while his fertility as a composer was shown by two Italian operas, "Astuzia e Prudenza" and "Un Avertimento."

On June 7, 1825, Maria had the opportunity of making her début in London at the King's Theatre, as Rosina in "Il Barbiere," under the directorship of Mr Ebers.

It was owing to a fortuitous combination of circumstances—the sudden return of Mme. Pasta to Paris, Ronzi losing her voice through illness, Vestris seceding to the stage, and Caradori, an excellent seconda donna, being hors de combat—that Maria found herself engaged to fill the gap.

With her début at the King's Theatre Maria achieved a triumphant success, which was witnessed by her brother; and she was engaged by the management for the remaining six weeks of the season for a sum of five hundred pounds.

Once more we find that curious repertoire of operas in favour at that time which contrasts so strangely with the taste of the present day, and serves to illustrate the important changes in the form and character of music which Manuel Garcia witnessed during his life.

We may, moreover, in this year trace the first introduction of Meyerbeer's music to English audiences, for we read in the July 'Harmonicon'—

"On the 23rd of last month there was brought out 'Il Crociato in Egitto,' the new grand opera of Meyerbeer, a composer whose name was completely unknown in this country only a few weeks ago.... Mdlle. Garcia, disguised in male attire, performed the part of Felicia with great ability, both as a singer and actress."

In the way of private musical entertainments, the Duke of Devonshire gave a fashionable concert in May, with Pasta, Velluti, the last male soprano who ever trod the boards in opera in this country, Puzzi, and a pianist with the mellifluous cognomen "Szymanowska"; while on June 15, a state concert was given by his Majesty King George IV. at—Carlton Palace!

Among the artists taking part in the latter we find Signor and Mdlle. Garcia, Caradori, Begrez, di Begnis, Curioni, Remorini, Velluti, and Crivelli.

At the end of the season the elder Garcia, together with his wife, son, and daughter, sang at several provincial concerts, and their names appear in the programmes of two of the Gentlemen's Concerts at Manchester on August 15 and September 9.

Four members of the family appearing together was surely a remarkable event!

In the same month Maria was one of the soloists at the second York Festival.

The committee had tried to get Catalani, but, after pecuniary terms had been arranged, the treaty failed in consequence of a stipulation on her part that several songs should be transposed into a lower key to suit her voice.

A perusal of the programme brings home to us the change which has taken place in the last eighty years.

Handel naturally figured largely, while Mozart was represented by his Jupiter Symphony, Beethoven by his Symphonies in C and D and one of the Leonora overtures. Such names, however, as Pepusch, Spontini, and Salieri have long since disappeared. Again, the style of Festival programme was then of a very mixed, and, as regards some of the numbers, of a very "popular" kind. Festivals of the present day are of a much more serious character.

With the York Festival the visit to England was brought to a close, and at the end of the month the Garcia family embarked at Liverpool for New York, where Manuel was to take part in the first American season of Italian Opera.

Before following them there, let us seek a glimpse of some of the operatic and theatrical events between the year of Manuel Garcia's first visit to England and his trip to America.

In 1816 John Kemble was playing Coriolanus at his London season; Charles Kean was at Drury Lane; and at Covent Garden Mrs Siddons reappeared as Lady Macbeth, while Charles Mathews brought to an end his contract with that theatre.

Next year Henry Bishop's operatic drama "The Slave" was produced at Covent Garden, and a novel pantomime entitled "Robinson Crusoe," with Grimaldi as Friday. It was, moreover, on June 13 of this season that Kemble played Coriolanus for the last time, and retired. In 1818 Macready appeared in an acting version of "Rob Roy,"—a novel which Sir Walter Scott had published shortly before.

Shelley passed away in 1822 (the year which followed that of the coronation of George IV.); while within a few weeks there took place an interesting benefit performance, at which "The Rivals" was acted, with the following cast:—

The next year is specially noteworthy for the production, in May, of Henry Bishop and Howard Payne's opera, "The Maid of Milan," which contained the air "Home, Sweet Home"; while in the following December, a tragedy by Mrs Hemans saw the light under the title "The Vespers of Palermo."

The year is, however, perhaps most important to us from the, at that time, unparalleled constellation of stars who were appearing at Drury Lane: Macready, Kean, Young, Munden, Liston, Elliston, Terry, Harley, Knight, Miss Stephens, and Mme. Vestris.

And what of the salaries which were being received by theatrical stars at the beginning of the nineteenth century?

The great Charles Mathews writes at this time of a proposed engagement, "Now to my offer, which I think stupendous and magnificent, £17 a-week." John Kemble, for acting and managing, was receiving £36; Miss O'Neill, at the most brilliant portion of her career, never had more than £25 a-week; while Mrs Jordan at her zenith had thirty guineas; and Charles Kemble, until he became his own manager, never received more than £20 a-week.

THE earliest operatic performances in America were derived not from Italian but from English sources. Elson tells us in his book on American music that "The Beggar's Opera," which created such a furore in Great Britain, probably was the first entertainment of the kind given in the colonies, being performed in New York as early as December 3, 1750, and innumerable times thereafter. This was followed by a series of other ballad operas.

"From the conglomerate Ballad Opera, often the work of half a dozen composers," Elson continues, "New York passed on to a more unified art-work, and the operas of Arnold, Storace, and Dibdin were given with some frequency. During the British occupation, in revolutionary days, the English regimental bands often assisted in the orchestral parts of the operatic performances. At a later period many refugees, driven from France by the Revolution, were to be found eking out a precarious livelihood in the orchestra.

"In March 1825 New Yorkers heard a great opera for the first time, for 'Der Freischütz' came to America by way of England. It was adapted and arranged with the boldest of alterations and makeshifts. Extra dances were introduced to charm the audience, and the incantation scene was often given without singing, as melodrama that is, recitation with orchestral accompaniment, while the fireworks let off during the scene won public favour at once.

"But the real beginning of opera in New York, and in a certain sense in America, occurred in the autumn of this year, when the elder Garcia arrived with his well-equipped opera troupe. Well might a critic of that day speak of the Spanish tenor as 'our musical Columbus.' The whole season of opera during that memorable period was a revelation to the new world."

During the last year of Garcia's stay in Italy Crivelli had written an opera, which was performed by the San Carlo company, of which it will be remembered the elder Garcia was a member.

The baritone for the New York season was "Garcia, jr.," as the subject of this memoir was advertised, and the cast was completed by d'Angrisani as the basso cantante, and Rosich as the buffo caricato. The chorus, which was collected and organised by Garcia only with the greatest difficulty, consisted chiefly of mechanics settled in America, who were accustomed to serve in choirs and could read music.

Of the circumstances which brought about this scheme of giving Italian opera in America we may read in the biography of the poet, Fitz-Greene Halleck. In it the author, General James Grant Wilson, tells us that Halleck was one of the two thousand New York pupils of Signor Daponte, who was for many years professor of Italian literature in Columbia College there. "To this Signor Daponte, the personal friend of Mozart, and writer of the libretto of 'Don Giovanni,' the poet told me," says the biographer, "that we were indebted for the introduction of Italian opera here, he having, with the late Dominick Lynch and Stephen Price, induced the elder Garcia to visit them with his troupe, and appear at the Park Theatre, of which Price was the manager."

During October and November, in addition to appearing in oratorio, the Garcia family gave a number of concerts, during which the tenor delighted to show the perfection of his method. He had a custom of striking a single chord, and then with his wife, son, and daughter, rendering a difficult operatic quartette, unaccompanied. At the end he would strike the chord again, to show that they had not deviated from the pitch to the extent of even a hair's-breadth. They certainly formed a quartette of pre-eminent ability; indeed, Chorley, one of the greatest musical authorities of his day, wrote of them, "The family of Spanish musicians are representative artists, whose power, genius, and originality have impressed a permanent trace on the record of the methods of vocal execution and ornament."

The first mention of their arrival we find in the 'Harmonicon,' which had a notice on October 25, to the effect that "The Spanish family of the Garcias, consisting of husband, wife, son, and daughter, have been engaged by Mr Price."

Some three weeks later a preliminary notice of their forthcoming venture appeared in a New York paper called 'The Albion, or British, Colonial, and Foreign Weekly Gazette.' In its issue of November 19 there was printed the following prospectus, which may be quoted in full, as it contains several points of interest:—

"For the succeeding eight days the names of persons desirous to take boxes or benches for the season of three months, or for one month, will be received at the box office at the theatre, and the applicants for the longest term and greatest number of seats will be entitled to the choice of boxes. The seats in the pit will also be numbered, and may be taken for the same periods.

"The price of the box places will be two dollars; of pit, one dollar; and of gallery, twenty-five cents.

"The opera of 'Il Barbiera (sic) di Seviglia' is now in rehearsal, and will be given as soon as possible.

"Tickets of the permanent boxes will be transferable. Performance to commence at 8 o'clock."

In the next issue of the paper we read that

"Signor Garcia has the honour to announce to the public that the opera of 'Il Barbiere di Seviglia' will be performed on Tuesday next. The books are now open, and places may be taken at the Box Office."

The advertisement goes on to state that "the best operas of Cimarosa, Mozart, and Paisiello, with others by Rossini, will be immediately put in rehearsal."

'The Albion' gave the opera company an encouraging send-off in the following naïve announcement:—

"We have been disappointed in not receiving a scientific critique, which we were promised from a professor, on the Italian Opera of Tuesday night; we shall, however, have something to say later, and meanwhile can state that the experiment has proved completely successful, and the troupe may be assured of making a fortunate campaign."

It is recorded further that "an assemblage of ladies so fashionable, so numerous, so elegantly dressed, has probably never been witnessed in an American theatre."

General Grant Wilson gives us some further details of this fashionable audience, for, according to him, it included Joseph Bonaparte, the ex-King of Spain, and the two friends, Fenimore Cooper and Fitz-Greene Halleck, who sat side by side, delighted listeners. Another account refers to the representation in these terms:—

"Signor Garcia indulges in a florid style of singing: with his fine voice, fine taste, admirable ear, and brilliancy of execution, we could not be otherwise than delighted.... Signorina Garcia's voice is what is denominated a fine contra-alto"—the gentleman is nothing if not correct, while we trace in the next words the unquestionable fact that he has been comparing notes with our "scientific" friend of 'The Albion.' "Her science and skill are such as to enable her to run over every tone and semitone with an ease and grace that cost apparently no effort." The sentence reads for all the world like a twentieth-century eulogy of an ardent motorist, if we substitute for tone and semitone the words woman and child.

He concludes with a vivid little sketch of Maria Garcia as she was at the age of seventeen:—

This was Manuel Garcia's operatic début: it was not his first appearance before the public, for, as we have seen, he had already been singing previously at several concerts. It has been asserted by some that his début in opera was made in Paris in the preceding year, but he himself declared this was untrue; while his sister, Pauline Viardot-Garcia, has stated most definitely that it took place in New York.

His voice was never powerful: he had sung with charm as a boy, and when his voice broke it developed into high baritone—not tenor, as has been asserted by many. The latter mistake probably originated in the fact that sometimes, as will be related later, he undertook the tenor parts when his father felt indisposed; but on these occasions he always altered the melody of the higher passages to suit his baritone voice.

In the first and subsequent performances of "Il Barbiere" his artistic singing of the air "Largo al factotum" made a considerable stir in New York, and his popularity was thereby considerably increased, but from the criticisms it is obvious that Manuel Garcia would never have been an operatic artist of the first rank, and, as we shall see, he was to find his métier in another field of music.

On the last day of the year we read in 'The Albion' that "The celebrated opera of 'Tancredi' will be produced at the Park Theatre this evening."

"Mr Kean has returned from Boston. The managers of the Boston theatre declare in an address to the public that they had no reason whatever to suppose that any serious or organised opposition existed against Mr Kean until 4 o'clock of the evening of his appearance.

"That amiable lady and excellent actress, Mrs Hilson, takes a Benefit at the Park on Wednesday, on which occasion Mr Kean has offered to perform in a favourite part."

In the next issue, January 7, 1826, we find the criticism of the performance of "Tancredi." One of the company had apparently discharged the duties of scene-painter for the production, and with success.

"'Tancredi' has been performed twice to crowded houses by Senior (sic) Garcia and his admirable troupe. Nothing could exceed the enthusiasm with which it was received. The scenery, painted by one of the troupe, is of matchless vigour and beauty, displaying magnificent ruins, paintings, &c., so peculiar to modern Italy.

"The corps has received a most efficient auxiliary in the person of Madame Barbiere (sic). Signorina Garcia takes the part of Tancredi. The piece, from its own intrinsic merits and the excellent manner in which it is performed, cannot fail to have a good run."

"Rossini's opera of 'Otella' (sic) has been produced by the Italian, troupe. It was a most fortunate effort, and the piece, we trust, will have a good run. Signor Garcia astonished the audience with his masterly powers, many of whom had no conception that so much tragic effect could be given in recitative.

"After the performance Signor Garcia was addressed by Mr Kean behind the scenes, who complimented the highly-talented vocalist on the great talent he had that night displayed, and expressed in the warmest terms the gratification experienced in listening to him. Several of the troupe were present on Wednesday to see Mr Kean in the part of Othello."

In this American première of Rossini's "Otello," one of the greatest successes of the season, we find the parts distributed as follows:—

Another important production of the season was "Don Giovanni," given on May 23, with the elder Garcia in the title-rôle. His son appeared as Leporello, and, as the criticism in 'The Albion' stated four days later: "In the part of Saporello"—the office shines once more in spelling—"the younger Garcia exhibited more musical ability than he has been generally thought to possess. His duet with Don Giovanni in the banquet scene was spirited enough."

Some other portions of this critique read rather quaintly. It will be remembered how the editor of the paper was perturbed after the opening performance of the season at not receiving the "scientific critique, which we are promised from a professor." He is evidently "still harping on my daughter," for one reads with infinite regret that—"To enter into any minute examination of 'Don Giovanni's' scientific merits is beyond our space and purpose"; while later we learn that "Madame Barbiere's taste is pure, and her science considerable."

Maria was able to satisfy this most learned and scientific judge, and we may presume that she found sufficiency of verging-room in Mozart, for we are told, "Mdlle. Garcia's Zerlina, though not so simple and rustic as Fador's (sic), the great Zerlina of Europe, is much more pleasing and fascinating. It was admirably acted, which for a singer is high praise. The celebrated 'Batti, batti,' was never better sung."

"In proportion as she is excellent," the notice concludes, "must we regret that a few nights longer and she will disappear from the public gaze."

Why the good gentleman should have been so perturbed it is a little difficult to see, for the season did not terminate for four months. Perhaps the explanation is that, just as other scientific men declared that the seven days of the World's Creation really meant seven periods, each extending over hundreds of years, so this one in saying "a few nights," took each night to stand for a period of a month. After all, as has been observed in Lewis Carroll's immortal book, it is only a question of who is to be master, the man or the word.

On August 26 we are informed that "'Il Barbieri de Siviglia'"—mark the dazzling array of fresh mistakes in spelling—"was performed last night for the fortieth time without any abatement of attraction."

Finally we are told of the approaching end of the season:—

"'Signor Garcia respectfully announces to the public that his engagement is limited to five representations of Italian operas, and will positively conclude on the 30th inst. On Saturday, September 16th, the benefit of Garcia, jun.'"—this was how Manuel appeared on the bills throughout the New York season—"'Tuesday the 19th, benefit of Mme. Garcia; Saturday the 23rd, benefit of Signor Garcia, Tuesday the 26th, benefit of Signorina Garcia, concluding Saturday the 30th, this being positively the last night of performance.'"

And so, on September 30, 1826, the first American season of Italian opera was brought to a close, after lasting ten months,—seventy-nine performances in all.

As to the composition of the orchestra, we learn that it consisted of seven violins, two violas, three violoncellos, two double-basses, two flutes, two clarinets, one bassoon, two horns, two trumpets, and drums,—twenty-four performers in all. The first violin and leader was De Luce, while a M. Etienne presided at the pianoforte. That the orchestral standard was by no means as high as that of the vocalists, may be readily surmised from the following criticism of one of the earliest performances:—

"The violins might be a little too loud; but one soul seemed to inspire and a single hand to guide, the whole band being throughout the magic mazes of Rossini's most intricate flights under the direction of M. de Luce; while M. Etienne presided in an effective manner at a piano, of which every now and then he might be heard to touch the keynote by those whose attention was turned that way, and just loud enough to be heard throughout the orchestra, for whose guidance it was intended."

However, in spite of this contretemps, the season turned out a complete success, for the 79 performances brought in gross receipts of 56,685 dollars (ranging from 1962 dollars on the best night to 250 dollars on the worst), which made an average of some 700 dollars at each representation.

It is rather ludicrous to read some of the articles which appeared in the New York papers during the earlier months of the Italian Opera. In them advice was given to those who had written asking questions as to how to dress in a fashionable way for the opera nights, according to the European manner, and how to behave during an opera performance.

In fact, it was thought "the thing" to go to the Park Theatre season, and the whole affair created the greatest excitement among the fashionables of Manhattanville.

Finally, we read towards the end of September of the future plans of the company:—

"They have been invited to New Orleans and also to Mexico, and it is believed that they will go to the latter place when their engagement here is over."

PICTURE to yourself Señor Garcia sallying forth into the streets of New York on February 4, 1826, and purchasing a paper, to be confronted with this piece of up-to-date intelligence:—

"The following despatch was transmitted from Strasburg to Paris on Saturday afternoon, 'The Emperor Alexander I. of Russia died at Taganrog on December 1st, after a few days' indisposition.' The express which brought this intelligence left Warsaw on the 8th inst."

Here, then, we find that it has taken exactly nine weeks for important Russian news to reach New York. A fortnight later a short article appeared in one of the American papers which gives a rather good insight into the state of civilisation at that period. It has been sent over by a London correspondent. Above the contribution is the heading, in large type, "Steam Gun Experiments." I quote some of the more interesting portions:—

"The adoption of the most destructive implements possible in war will be most friendly to humanity, by shortening its duration. Offensive war will profit much less than defensive. A fort may be made impregnable against an attacking force, and a breach (could such a thing be made under the fire of steam artillery) could not be stormed. It is impossible to foresee what changes this discovery may not make in the history of nations.

. . . . . . . . . . . . . . . . . . . . . . . . .

"It is not exceeding the bounds of probability to suppose that we shall ere long as commonly see vessels propelled by Perkins' steam-engines undertaking the most distant voyages, as we now see them employed on our coasts. In this case, calms, contrary winds, and tides will be comparatively of little consequence, since a steam vessel, under such favourable circumstances, can always make some way on her voyage or retreat into harbour."

"Mr Charles Mathews, the celebrated comedian, is on a visit to Sir Walter Scott at Abbotsford."

"Madame Pasta was expected to be in London by the first of April." Inauspicious date!

"His Majesty [this would be George IV.] on his return to town will occupy apartments at St James's. Carlton House will not again be the Royal residence."

"The expense of postage of letters through the medium of the Twopenny Post Office by Alderman Thompson's Committee, when he first announced himself as one of the candidates for the presentation of the City, amounted to no less a sum than £128."

"Industry and Talent.—It is a notorious fact that Sir Walter Scott unites drudgery with lofty genius, and has put his hand to almost every department of literay (sic) labour, without being scared by occasional want of success."

Farther on we find this heading, in large type, under "Intelligence received, by the Bayard, from Havre"—

"SPEECH OF THE KING OF FRANCE, "Delivered at the opening of the Chambers, January 31st."

Then follows a full report of the address which Charles X. had given eight weeks before.

Next we come to a piece of geographical discovery:—

The last quotation which I will make from the issue of that date refers to the "Seizure of a slave vessel in England." In it we read how "The French vessel was boarded and subsequently seized by Lieutenant Rye of the coastguard service. She was found well fitted out with all the ordinary furniture of a slave-trader, her hold adapted in the usual way to the reception of slaves. Among her other stores there were, of course, found manacles and shackles in great abundance: a long chain to confine the unfortunate creatures in gangs, with all the usual implements of negro torture that would not be understood by their names, we are happy to say, by most of our readers."

These, then, were the special plums of "Latest Intelligence" from Europe, which the twenty-year-old Manuel no doubt devoured with keenest relish on that morning eighty odd years ago.

"Sir Thomas Lawrence is confessedly at the head of the English school of portrait-painters. He is about forty-seven years of age. The Kembles and Mrs Siddons have been his favourite associates. At one time he was a particular friend of the late Queen Caroline. His portraits of George IV. are excellent. In 1818 he was commissioned to visit the Congress of Aix-la-Chapelle for the purpose of painting the monarchs, warriors, and statesmen of Europe. During that visit the doors of his atelier were open to his friends, and it is impossible to fancy a more interesting sight than his morning levée. The Emperors of Russia and Austria, the King of Prussia, Wellington, Richelieu, Blücher, Bernstoff, and a long train of distinguished personages, were almost always to be met there."

During the opera season of 1826 two strange events took place which Señor Garcia would recall in after-years. At the time the one filled the inhabitants of New York with the wildest excitement, the second with the deepest gloom.

As to the second event, one cannot do better than let the story be told by the notice which appeared in one of the New York newspapers:—

"JUBILEE OF DECLARATION OF INDEPENDENCE.

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"FOURTH OF JULY CELEBRATIONS.

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"SUDDEN DEATH OF TWO EX-PRESIDENTS.

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