is in the dungeons of Count Orso's castle. The duo tasked Vittoria's
execution of florid passages; it gave evidence of her sound artistic
powers.

'I was a fool,' thought Antonio-Pericles; 'I flung my bouquet with the
herd. I was a fool! I lost my head!'

He tapped angrily at the little ink-flask in his coat-pocket. The first
act, after scenes between false Camillo and Michiella, ends with the
marriage of Camillo and Camilla;--a quatuor composed of Montini,
Vittoria, Irma, and Lebruno. Michiella is in despair; Count Orso is
profoundly sonorous with paternity and devotion to the law. He has
restored to Camilla a portion of her mother's sequestrated estates.
A portion of the remainder will be handed over to her when he has had
experience of her husband's good behaviour. The rest he considers
legally his own by right of (Treaties), and by right of possession and
documents his sword. Yonder castle he must keep. It is the key of all
his other territories. Without it, his position will be insecure.
(Allusion to the Austrian argument that the plains of Lombardy are the
strategic defensive lines of the Alps.)

Agostino, pursued by his terror of anticlimax, ran from the sight of
Vittoria when she was called, after the fall of the curtain. He made his
way to Rocco Ricci (who had given his bow to the public from his perch),
and found the maestro drinking Asti to counteract his natural excitement.
Rocco told Agostino, that up to the last moment, neither he nor any soul
behind the scenes knew Vittoria would be able to appear, except that she
had sent a note to him with a pledge to be in readiness for the call.
Irma had come flying in late, enraged, and in disorder, praying to take
Camilla's part; but Montini refused to act with the seconda donna as