far as possible
from musical influences, but the hereditary passion and gifts could
not be altogether suppressed, and the youthful wife quietly pursued her
studies with unbroken perseverance.

The incident which irretrievably committed her energies and fortunes to
the stage was a singular one, yet it is not unreasonable to assume that,
had not this occurred, her ardent predilections would have found some
other outlet to the result to which she aspired. M. Fournier, a rich
French merchant, settled at Leghorn, was an excellent musician, and
carried this recreation of his leisure hours so far as to compose an
opera, "Francesca di Rimini," the subject drawn from the romance of
"Silvio Pellico." The wealthy merchant could find no manager who would
venture to produce the work of an amateur. But he was willing and able
to become his own _impressario_, and accordingly he set about forming an
operatic troupe and preparing the scenery for a public representation
of his dearly beloved musical labor. The first vocalists of Italy, Mmes.
Pisaroni and Rasallima Caradori, contralto and soprano, were engaged at
lavish salaries, and on the appointed day of the first rehearsal they
all appeared except Caradori, whose Florentine manager positively
forbade her singing as a violation of his contract. M. Fournier was in
despair, but at last some one remembered Mme. Persiani, who was known
as a charming dilettante. Her residence was not many miles away from
Leghorn, and it was determined to have recourse to this last resort,
for it was otherwise almost impossible to secure a vocalist of talent
at short notice. A deputation of M. Fournier's friends, among whom were
those well acquainted with the Tacchinardi family, formed an embassy to
represent the urgent need of the composer and implore the aid of Mme.
Persiani. With some difficulty the consent of husband and father was
obtained, and the young singer made her _debut_ in the opera of the
merchant-musician. Mme. Persiani said in after-years that, had her
attempt been a successful one, it was very doubtful if she ever would
have pursued the profession of the stage. But her performance came
very near to being a failure. Her pride was so stung and her vanity
humiliated that she would not listen to the commands of husband and
father. She would become a great lyric artist, or else satisfy herself
that she _could_ not become one. The turning-point of her life had come.

She found an engagement at th