tto), and afterward of Porpora. The Cardinal kept
a keen oversight of her instruction, and frequently organized concerts,
where her growing talents were shown, to the great delight of the
brilliant Roman society. Catarina's training was completed in the
conservatory of L'Ospidaletto at Venice, while it was under the
direction of Sacchini, who succeeded Galuppi.

"La Cuochettina," as she was called from her father's profession, made
her first appearance in Galuppi's "Sofonisba" in Lucca, after five
years of severe training. She was beautiful, intelligent, witty, full
of liveliness and grace, with an expression full of coquettish charm and
_espieglerie_. Her acting was excellent, and her singing already that of
a brilliant and finished vocalist. It is not a marvel that the excitable
Italian audience received her with the most passionate plaudits of
admiration. Her stature was low, but Dr. Burney describes her in the
following terms: "There was such grace and dignity in her gestures and
deportment as caught every unprejudiced eye; indeed, she filled the
stage, and occupied the attention of the spectators so much, that they
could look at nothing else while she was in view." No indication of
her mean origin betrayed itself in her face or figure, for she carried
herself with all the haughty grandeur of a Roman matron. Her voice,
though not powerful, was of exquisite quality and wonderful extent,
its compass being nearly two octaves and a half, and perfectly equable
throughout. Her facility in vocalization was extraordinary, and her
execution is described by Dr. Burney as rapid, but never so excessive as
to cease to be agreeable; but in slow movements her pathetic tones, as
is often the case with performers renowned for "dexterity," were not
sufficiently touching.

The young chevaliers of Lucca were wild over the new operatic star; for
her talent, beauty, and fascination made her a paragon of attraction,
and her capricious whims and coquetries riveted the chains in which she
held her admirers. Catarina, however she may have felt pleased at lordly
tributes of devotion, and willing to accept substantial proofs of
their sincerity, lavished her friendship for the most part on her own
comrades, and became specially devoted to the singer Guardagni, whose
rare artistic excellence made him a valuable mentor to the young prima
donna. Three years after her _debut_ her reputation had become national,
and we find her singing at Naples in