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ar and quick judgment in giving to words their full value and expression. In her action she was very happy; and as her performance possessed that flexibility of muscles and face-play which constitute expression, she succeeded equally well in furious, tender, and amorous parts. In short, she was born for singing and acting." Faustina's amiability would have kept her on good terms with a rival; but Cuzzoni's malice and envy ignored the fact that their respective qualities were rather adapted to complement than to vie with each other. Handel, who had a world of trouble with his singers, strove to keep them on amicable terms, but without success. The town was divided into two parties: the Cuzzoni faction was headed by the Countess of Pembroke, and that of Faustina by the Countess of Burlington and Lady Delawar, while the men most loudly declared for the Venetian beauty. At last the feud came to a climax. On the 20th of June, 1727, a brilliant gathering of rank and fashion filled the opera-house to hear the two _prime donne_, who were to sing together. On their appearance they were received with a storm of mingled hissing and clapping of hands, which soon augmented into a hurricane of catcalls, shrieking, and stamping. Even the presence of royalty could not restrain the wild uproar, and accomplished women of the world took part in these discordant sounds. Dr. Arbuthnot, in alluding to the disgraceful scene, wrote in the "London Journal" this stinging rebuke: "AEsop's story of the cat, who, at the petition of her lover, was changed into a fine woman, is pretty well known; notwithstanding which alteration, we find that upon the appearance of a mouse she could not resist the temptation of springing out of his arms, though it was on the very wedding night. Our English audience have been for some time returning to their cattish nature, of which some particular sounds from the gallery have given us sufficient warning. And since they have so openly declared themselves, I must only desire that they must not think they can put on the fine woman again just when they please, but content themselves with their skill in caterwauling." The following epigram was called out by the proceedings of the evening, which were mostly stimulated by the Pembroke party, who supported Cuzzoni: "Old poets sing that beasts did dance Whenever Orpheus played: So to Faustina's charming voice Wise Pembroke's asses brayed." The tw
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