cluding two masses and eight operas, and was the writer of
a highly esteemed musical method. After finishing his operatic career he
became a professor of singing at the Conservatoire.

Madame Grisi, who made her debut in 1823, and held her place as one of
the greatest singers for many years, was the daughter of an Italian
officer of engineers, and her mother's sister was the once celebrated
Grassini, a contemporary of Mrs. Billington and Madame Mara.

Giulietta Grisi, as a child, was too delicate to receive any musical
training; but her ambition caused her to learn the pianoforte by her own
efforts, and her imitation of her sister Giuditta's vocal exercises
indicated to her family the bent of her tastes.

In due course she entered the conservatoire in her native town, and was
later sent to her Uncle Ragani at Bologna, where, for three years, she
was under the instruction of Giacomo Guglielmi. Gradually the beautiful
quality of her voice began to manifest itself. She was remarkably apt
and receptive, and profited by her masters to an extraordinary degree.

For three months she studied under Filippo Celli, and in 1828 she made
her debut in Rossini's "Elmira." Rossini was delighted with her, and
the director of the theatre immediately engaged her for the carnival
season.

The career thus auspiciously commenced, continued for more than a
quarter of a century, during which time Grisi delighted audiences
throughout the whole of Europe, and made a tour, with Mario, of the
United States.

The production of Bellini's last opera, "I Puritani," in 1834, was one
of the greatest musical events of the age, not solely on account of the
work, but because of the very remarkable quartet which embodied the
principal characters,--Grisi, Rubini, Tamburini, and Lablache. This
quartet continued in its perfection for several years, with the
substitution later of Mario for Rubini, and was one of the most notable
and interesting in the history of operatic music.

Giulietta Grisi's womanly fascinations made havoc among that large
class who become easily enamored of the goddesses of the theatre, and
she was the object of many passionate addresses. She married in 1836 a
French gentleman of fortune, M. Auguste Gerard de Melcy, but she did not
retire. This marriage was unhappy, and after her release from it by
divorce she became the wife of Mario, the great tenor.

Grisi united much of the nobleness and tragic inspiration of Pasta, with
some