been told that the features of the
Colchian sorceress had been found in the ruins of Herculaneum cut on an
antique gem, his fantastic enthusiasm so overcame his judgment that
he took a journey to Italy expressly to inspect this visionary cameo,
which, it need not be said, existed only in the imagination of a
practical joker.

In 1824 Pasta made her first English appearance at the King's Theatre,
at which was engaged an extraordinary assemblage of talent, Mesdames
Colbran-Rossini, Catalani, Konzi di Begnis, "Vestris, Caradori, and
Pasta. The great tragedienne made her first appearance in _Desdemona_,
and, as all Europe was ringing with her fame, the curiosity to see and
hear her was almost unparalleled. Long before the beginning of the opera
the house was packed with an intensely expectant throng. For an English
audience, idolizing the memory of Shakespeare, even Rossini's fine
music, conducted by that great composer himself, could hardly under
ordinary circumstances condone the insult offered to a species of
literary religion by the wretched stuff pitchforked together and called
a libretto. But the genius of Pasta made them forget even this, and
London bowed at her feet with as devout a recognition as that offered
by the more fickle Parisians. Her chaste and noble style, untortured by
meretricious ornament, excited the deepest admiration. Count Stendhal,
the biographer of Rossini, seems to have heard her for the first time at
London, and writes of her in the following fashion:

"Moderate in the use of embellishments, Mme. Pasta never employs them
but to heighten the force of the expression; and, what is more, her
embellishments last only just so long as they are found to be useful."
In this respect her manner formed a very strong contrast with that of
the generality of Italian singers at the time, who were more desirous of
creating astonishment than of giving pleasure. It was not from any
lack of technical knowledge and vocal skill that Mme. Pasta avoided
extravagant ornamentation, for in many of the concerted pieces--in which
she chiefly shone--her execution united clearness and rapidity. "Mme.
Pasta is certainly less exuberant in point of ornament, and more
expressive in point of majesty and simplicity," observed one critic,
"than any of the first-class singers who have visited England for a long
period.... She is also a mistress of art," continues the same writer,
"and, being limited by nature, she makes no extrava