nts are still living in
enjoyment of the rank earned by the genius of the singer. By some of
the critics of his time Caffarelli was judged to be the superior of
Farinelli, though the suffrages were generally on the other side. He
excelled in slow and pathetic airs as well as in the bravura style; and
was unrivaled in the beauty of his voice, and in the perfection of his
shake and his chromatic scales, which latter embellishment in quick
movements he was the first to introduce.

* "Amphion built Thebes, I a palace."

** "He with good reason, you without."

IV.

When Gabrielli was on her way to England in 1765, she sang for a few
nights in Venice with the celebrated Pacchierotti, a male soprano singer
who took the place of Caffarelli, even as the latter filled that vacated
by Farinelli. Gabrielli was inspired by the association to do her
utmost, and when she sang her first _aria di bravura_, Pacchierotti gave
himself up for lost. The astonishing swiftness, grace, and flexibility
of her execution seemed to him beyond comparison; and, tearing his hair
in his impetuous Italian way, he cried in despair, "_Povero me, povero
me! Vuesto e un portento!_" ("Unfortunate man that I am, here indeed is
a prodigy!") It was some time before he could be persuaded to sing; but,
when he did, he excited as much admiration in Gabrielli's breast as that
fair cantatrice had done in his own. Pac-chierotti is the third in the
great triad of the male soprano singers of the eighteenth century, and
the luster of his reputation does not shine dimly as compared with the
other two. He commenced his musical career at Palermo in 1770, at the
age of twenty, and when he went to England in 1778 expectations were
raised to the highest pitch by the accounts given of him by Brydone in
his "Tour through Sicily and Malta." His first English season was very
successful, and he returned again in 1780, to remain for four years and
become one of the greatest favorites the London public had ever known,
his last appearance being at the great Handel commemoration. The details
of Pacchierotti's life are rather scanty, for he was singularly modest
and retiring, and shrank from rather than courted public notice. We know
more of him from his various critics as an artist than as a man.

"Pacchierotti's voice," says Lord Mount Edgcumbe, who contributed so
richly to the literature of music, "was an extensive soprano, full and
sweet in the highest degree; his