; a noise is heard; the
Vestals enter; the unfortunate fair is roused from her stupor by the noise
of footsteps and has just time to oblige her lover to retire, which he
reluctantly does, but not unperceived by the Vestals. The Matron of the
Vestals reproaches her with the crime she has committed and orders her to
be placed in a dungeon. She is brought out to be examined by the High
Priest, found guilty and condemned by him to the usual punishment of the
Vestals for a breach of their vow, viz., the being buried alive outside the
gates of Rome. The moment the sentence is pronounced a black veil is thrown
over her. The scene then changes to the place of execution; the funeral
procession takes place; the vault is dug and a man stands by with a pitcher
of water and loaf of bread, to deliver to her when she should descend. The
Consuls are present, attended by the Lictors and Aediles. All the other
vestals are present, of whom the culprit takes an affectionate leave and is
about to descend into the vault. Suddenly a noise of arms and shouts are
heard. It is her lover who having collected a few followers come rushing
forward with arms in their hands to arrest the execution. He forces his way
into the presence of the Consuls, but the sight of his father inspires him
with awe; he staggers back; at this moment a Lictor at the command of the
other Consul plunges a spear into his breast. The Vestal is hurried to the
brink of the vault, into which she is forced to descend to the
accompaniment of mournful music, while her dying lover vainly endeavours to
crawl towards her. The curtain falls.

The exquisite acting of La Pallerini drew tears from my eyes: it was indeed
too horrible a subject for a _Ballo_, which in my opinion ought to end
happily. The scenery was the finest of the kind I think I ever witnessed.
The first scene represents the _Circus maximus_; the interior of the temple
of Vesta and the place of execution outside the walls of Rome were most
classically correct and appropriate: the music was beyond all praise and
singularly affecting. This Ballet has excited such an enthusiastic
approbation that Vigano the Ballet master, Pallerini who acts the Vestal
and the young man who performs the hero of the piece were summoned every
evening after the termination of the Ballet, to appear on the stage, and
receive applauses, which seemed to increase at every representation. I have
been to see this ballet six or seven times, and always