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880 * ARTISTS AND AUTHORS such remarkable promise ; and, accordingly, she began to take singing lessons— not, as is stated in Grove's " Dictionary of Musicians," from Maurice Strakosch, but from a French lady, subsequently studying with her step-brother, Ettore Ba- rili, who was a famous baritone singer ; but nature had been so prodigal of her gifts to the child that she never undertook a serious course of study, but, as she herself says, her real master was " le bon Dieu." At a very early age she would sing and play the part of Norma, and knew the whole of the words and music of Rosina, the heroine of Rossini's immortal " II Barbiere di Seviglia." She sang at various concerts in different cities, until she reached the age of twelve and a half, when her career was temporarily interrupted, for Maurice Strakosch, observing the ruinous effect the continuous strain upon her delicate voice was working, insisted upon her discontinuing singing altogether, which advice she happily followed. After this interval of two years' silence, and having emerged from the wonder-child to the young artiste, she recommenced her studies un- der M. Strakosch, and very soon afterward was engaged to sing on a regular stage. Strakosch travelled with her and Gottschalk, the pianist, through the United States, during the tour giving a number of concerts with varying finan' cial results; ultimately returning to New York in 1859, where she appeared at a concert of which The New York Herald of November 28th gives the following notice : " One of the most remarkable events in the operatic history of the me- tropolis, or even of the world, has taken place during the last week at the Acad- emy of Music. Mile. Patti sang the mad scene from Lucia in such a superb manner as to stir up the audience to the heartiest demonstrations of delight. The success of this artiste, educated and reared among us, has made everybody talk of her." In the following year, Strakosch considered the time had arrived for her to appear in Europe. He accordingly brought his young protegee to England, with the result I have already attempted to describe. After singing in London and Paris, Patti was engaged to appear at Berlin, Brussels, Moscow, and St. Petersburg, at which latter city enthusiasm reached its climax, when on one occasion she was called before the curtain no fewer than forty times. One who was with her there during her last visit, writes : " Having been witness of Adelina's many triumphs and of outbursts of enthusiasm bordering upon madness, I did not think that greater demonstrations were possible. I was profoundly mistaken, however, for the St. Petersburg public far surpassed anything I have seen before. On Adelina's nights extraordinary profits were made. Places for the gallery were sold for ten roubles each, while stalls were quickly disposed of for a hundred roubles each. The emperor and empress, with the whole court, took part in the brilliant reception accorded to Patti, and flowers to the amount of six thousand roubles were thrown at her." That she has been literally worshipped from infancy upward is only a natural consequence of her unsurpassable gifts, and nowhere has this feeling manifested itself to such an extent as in Paris, and by none more so than by the four famous composers, Auber, Meyerbeer, Rossini, and Gounod. Auber, after hearing her sing Norina, in Donizetti's " Don Pasquale," offered her a bouquet of roses from