possessing universality of talent.[110] She is well
known all over Italy, for the extent of her litterary attainments, but more
particularly for her proficiency in the fine arts, above all in painting,
of which she is an adept. She also possesses the most amiable qualities of
the heart, and is universally beloved and respected for the worth of her
private character, and for her generous disposition. She has all the
vivacity of intellect belonging to youth, tho' now nearly eighty-six years
of age,[111] and of a very delicate physical constitution; in short she
affords, and I often tell her so, the most striking proof of the
immortality of the soul. There is a _conversazione_ at her house twice a
week, where you meet with foreign as well as Italian _litterati_, and
persons of distinction of all nations, tongues and languages. Her eldest
daughter, Mme D'Orfei, is an excellent _improvisatrice_, and has frequently
given us very favourable specimens of the inspiration which breathes itself
in her soul. I have likewise witnessed the talent of two very extraordinary
_improvisatori_, the one a young girl of eighteen years of age, by name
Rosa Taddei. She is the daughter of the proprietor of the _Teatro della
Valle_ at Rome, and sometimes performs herself in dramatic pieces; yet,
strange to say, tho' she is an admirable _improvisatrice_ and possesses a
thorough classic and historical knowledge, she is but an indifferent
actress.

It is a great shame that her father obliges her to act on the stage in very
inferior parts, when she ought only to exhibit on the tripod. I assisted at
an _Accademia_ given by her one evening at the _Teatro della Valle_, when
she improvised on the following subjects, which were proposed by various
members of the audience: 1st, _La morte d'Egeo_; 2dy, _La Madre Ebrea_;
3rd, _Coriolano alle mura di Roma_; 4th, _Ugolino_; 5th, _Saffo e Faone_;
6th, in the Carnaval with the following _intercalario: "Maschera ti
conosco, tieni la benda al cor_!" which _intercalario_ compels a rhyme in
_osco_, a most difficult one. The _Madre Ebrea_ and _Coriolano_ were given
in _ottava rima_ with a _rima obbligata_ for each stanza. The _Morte
d'Egeo_ was given in _terza rima_. Her versification appeared to be
excellent, nor could I detect the absence or superabundance, of a single
syllable. She requires the aid of music, chuses the melody; the audience
propose the subject, and _rima obbligata_, and the _intercalario_, where it