"The violins might be a little too loud; but one soul seemed to inspire and a single hand to guide, the whole band being throughout the magic mazes of Rossini's most intricate flights under the direction of M. de Luce; while M. Etienne presided in an effective manner at a piano, of which every now and then he might be heard to touch the keynote by those whose attention was turned that way, and just loud enough to be heard throughout the orchestra, for whose guidance it was intended." As has been already stated, the performance took place on Tuesday and Saturday evenings. The latter was a very great mistake, owing to the strong religious feelings of the city, which kept the inhabitants from going out on this evening for fear of interfering with preparation for the Sabbath. As we may read in a notice of the season, which was sent over by the New York correspondent to one of the English papers: "Saturdays were fixed on in imitation of London, but on the night which is your best nobody goes to the theatre, for we are very _serious_ in this city, and do not go to the late amusements on Saturday." However, in spite of this _contretemps_, the season turned out a complete success, for the 79 performances brought in gross receipts of 56,685 dollars (ranging from 1962 dollars on the best night to 250 dollars on the worst), which made an average of some 700 dollars at each representation. It is rather ludicrous to read some of the articles which appeared in the New York papers during the earlier months of the Italian Opera. In them advice was given to those who had written asking questions as to how to dress in a fashionable way for the opera nights, according to the European manner, and how to behave during an opera performance. In fact, it was thought "the thing" to go to the Park Theatre season, and the whole affair created the greatest excitement among the fashionables of Manhattanville. Finally, we read towards the end of September of the future plans of the company:-- "They have been invited to New Orleans and also to Mexico, and it is believed that they will go to the latter place when their engagement here is over." With the 1st of October 1826 the New York opera season had become a thing of the past, and on October 2 the dramatic season of Macready, a thing of the present, for on that date the tragedian trod the boards of an American stage for the first time. One cannot perhaps bring the chapter to a more seemly close than with the announcement which the ever-fascinating 'Albion' made in speaking of the opening performance:-- "Mr Macready appeared in the character of Virginius, in the presence of an audience of the most respectable description, and comprising all the talent and critical acumen of this great city." One can only pray that the scientific acumen was not absent on that memorable and respectable occasion. CHAPTER VI. NEW YORK AND MEXICO. (1826-1827.)