though somewhat lacking in sweetness and flexibility, defects which she
subsequently overcame by study and practice. As the best antidote to
the sweet stage poison which already began to run riot in her veins,
her father brought about an early marriage for the immature girl, and
in 1830 she was united to Joseph Persiani, an operatic composer of some
merit, though not of much note. She resided with her husband in her
father's house for several years, carefully secluded as far as possible
from musical influences, but the hereditary passion and gifts could
not be altogether suppressed, and the youthful wife quietly pursued her
studies with unbroken perseverance.

The incident which irretrievably committed her energies and fortunes to
the stage was a singular one, yet it is not unreasonable to assume that,
had not this occurred, her ardent predilections would have found some
other outlet to the result to which she aspired. M. Fournier, a rich
French merchant, settled at Leghorn, was an excellent musician, and
carried this recreation of his leisure hours so far as to compose an
opera, "Francesca di Rimini," the subject drawn from the romance of
"Silvio Pellico." The wealthy merchant could find no manager who would
venture to produce the work of an amateur. But he was willing and able
to become his own _impressario_, and accordingly he set about forming an
operatic troupe and preparing the scenery for a public representation
of his dearly beloved musical labor. The first vocalists of Italy, Mmes.
Pisaroni and Rasallima Caradori, contralto and soprano, were engaged at
lavish salaries, and on the appointed day of the first rehearsal they
all appeared except Caradori, whose Florentine manager positively
forbade her singing as a violation of his contract. M. Fournier was in
despair, but at last some one remembered Mme. Persiani, who was known
as a charming dilettante. Her residence was not many miles away from
Leghorn, and it was determined to have recourse to this last resort,