that the goodness of her heart was no whit less than the splendor of her
artistic genius.

The marriage of Mlle. Grisi, in the spring of 1830, to M. Auguste Gérard
de Melcy, a French gentleman of fortune, did not deprive the stage
of one of its greatest ornaments, for after a short retirement at the
beautiful château of Vaucresson, which she had recently purchased, she
again resumed the operatic career which had so many fascinations for one
of her temperament, as well as substantial rewards. Her first appearance
in London after her marriage was with Rubini and Tamburini in the opera
of "Semiramide," speedily followed by a performance of _Donna Anna_, in
"Don Giovanni." The excitement of the public in its eager anticipation
of the latter opera was wrought to the highest pitch. A great throng
pressed against both entrances of the theatre for hours before the
opening of the doors, and many ladies were severely bruised or fainted
in the crush. It was estimated that more than four thousand persons were
present on this occasion. The cast was a magnificent one. Mme. Grisi was
supported by Mmes. Persiani and Albertazzi, and Tamburini, Lablache, and
Rubini. This was hailed as one of the great gala nights in the musical
records of London, and it is said that only a few years ago old
connoisseurs still talked of it as something incomparable, in spite of
the gifted singers who had since illustrated the lyric art. Mme. Pasta,
who occupied a stage box, led the applause whenever her beautiful young
rival appeared, and Grisi, her eyes glowing with happy tears, went to
Pasta's box to thank the queen of lyric tragedy for her cordial homage.

"Don Giovanni" was performed with the same cast in January, 1838, at the
Théâtre Italiens. About an hour after the close of the performance the
building was discovered to be on fire, and it was soon reduced to a heap
of glowing ashes. Severini, one of the directors, leaped from an upper