powers of execution were great, but he
had far too good taste and good sense to make a display of them where
it would have been misapplied, confining it to one bravura song in each
opera, conscious that the chief delight of singing and his own supreme
excellence lay in touching expression and exquisite pathos. Yet he was
so thorough a musician that nothing came amiss to him; every style was
to him equally easy, and he could sing at first sight all songs of the
most opposite characters, not merely with the facility and correctness
which a complete knowledge of music must give, but entering at once into
the views of the composer and giving them all the spirit and expression
he had designed. Such was his genius in his embellishments and cadences
that their variety was inexhaustible.... As an actor, with many
disadvantages of person--for he was tall and awkward in his figure, and
his features were plain--he was nevertheless forcible and impressive;
for he felt warmly, had excellent judgment, and was an enthusiast in his
profession. His recitative was inimitably fine, so that even those who
did not understand the language could not fail to comprehend from his
countenance, voice, and action every sentiment he expressed."

An anecdote illustrating Pacchierotti's pathos is given by the
best-informed musical authorities. When Metastasio's "Artaserse" was
given at Rome with the music of Bertoni, Pacchierotti performed the
part of Arbaces. In one place a touching song is followed by a short
instrumental symphony. When Pacchierotti had finished the air, he turned
to the orchestra, which remained silent, saying, "What are you about?"
The leader, awakened from a trance, answered with much simplicity in a
sobbing voice, "We are all crying." Not one of the band had thought
of the symphony, but sat with eyes full of tears, gazing at the great
singer.

V.

Gabrielli's career, which will now be resumed, had been full of romantic
adventures, _affaires d'amour_, and curious episodes, and her vanity
looked forward to the continuance in England of similar social
excitements. She had accepted the London engagement with some scruple
and hesitation, but her anticipation of brilliant conquests among
the _jeunesse doree_ of Britain overcame her fear that she would find
audiences less tolerant than those to which she had been accustomed in
her imperious course through Europe. But the beautiful Gabrielli was
then a little on the wane both in pe