Concerning another's recollections, I have not the slightest doubt. Within the last year Mrs. Julia Ward Howe, entertaining some of her relatives and friends with an account of social doings in New York in her childhood, recalled the fact that she had been taken as a tiny miss to hear some of the performances of the Garcia Troupe, and, if I mistake not, had had Lorenzo da Ponte, the librettist of Mozart's "Nozze di Figaro" and "Don Giovanni" pointed out to her by her brother. This brother was Samuel Ward, who enjoyed the friendship of the old poet, and published recollections of him not long after his death, in The New York Mirror. For a score of years I have enjoyed the gentle companionship at the opera of two sisters whose mother was an Italian pupil of Da Ponte's, and when, a few years ago, Professor Marchesan, of the University of Treviso, Italy, appealed to me for material to be used in the biography of Da Ponte, which he was writing, I was able, through my gracious and gentle operatic neighbors, to provide him with a number of occasional poems written, in the manner of a century ago, to their mother, in whom Da Ponte had awakened a love for the Italian language and literature. This, together with some of my own labors in uncovering the American history of Mozart's collaborator, has made me feel sometimes as if I, too, had dwelt for a brief space in that Arcadia of which I purpose to gossip in this chapter, and a few others which are to follow it. There may be other memories going back as far as Mrs. Howe's, but I very much doubt if there is another as lively as hers on any question connected with social life in New York fourscore years ago. Italian opera was quite as aristocratic when it made its American bow as it is now, and decidedly more exclusive. It is natural that memories of it should linger in Mrs. Howe's mind for the reason that the family to which she belonged moved in the circles to which the new form of entertainment made appeal. A memory of the incident which must have been even livelier than that of Mrs. Howe's, however, perished in 1906, when Manuel Garcia died in London, in his one hundred and first year, for he could say of the first American season of Italian opera what Æneas said of the siege of Troy, "All of which I saw, and some of which I was." Manuel Garcia was a son of the Manuel del Popolo Vicente Garcia, who brought the institution to our shores; he was a brother of our first prima donna, she who then was only the Signorina Garcia, but within a lustrum afterward was the great Malibran; and he sang in the first performance, on November 29, 1825, and probably in all the performances given between that date and August of the next year, when the elder Garcia departed, leaving the Signorina, as Mme. Malibran, aged but eighteen, to develop her powers in local theaters and as a chorister in Grace Church. Of this and other related things presently.