Her tours through Italy were a series of triumphs. In Rome she was overwhelmed with praise; at Bologna the enthusiasm was such that the public subscribed for a bust to be executed in marble and placed in the theatre; while at Naples, her grandest triumph of all was achieved on the night when she took leave of the audience in the character of Ninetta. Six times after the fall of the curtain was she called forward to receive the reiterated plaudits and adieus of a public which seemed unable to bear the idea of separation from its new idol. The singer, for her part, had only strength and spirits left to kiss her hand to the assembled multitude, and indicate by expressive gestures the degree to which she was overpowered by fatigue and emotion. Nor did the scene end within the theatre, for a crowd rushed to the stage-door from all parts of the house, and as soon as their favourite's sedan-chair came out they escorted it, with loud acclamations, to the Palazzo Barbaja, and renewed their salutations as the artist ascended the steps. Of her first appearance in Milan Señor Garcia gave me a delightful account. At that time Pasta was a great favourite in the city, her most effective part being Norma. Such enormous success had she made in this _rôle_, in fact, that the Milanese always used to allude to her as "Norma" instead of making use of her own name. Upon her arrival Maria Malibran was asked by the director of the Opera House in what part she would like to make her first appearance. She at once replied, "Norma, signor." "But, madame, do you forget Pasta?" "Eh, bien? I am not afraid of Pasta. I will live or die as Norma." Bellini's opera was therefore announced. At the opening night Pasta came to hear the newcomer, and took up her position in the middle box of the grand tier amidst loud applause from the populace. Maria Malibran made her first entrance without any sound of encouragement, and the aria was received in deliberate, stony silence. Her next number was the terzetto. After one of the passages which she had to render the audience suddenly forgot themselves and shouted out, "Bravo!" This was instantly followed by cries of "Hush!" "Silence!" The trio came to an end. Not a hand! Instead were heard sounds of dispute from all parts of the house: "She is great;" "She is nothing of the kind;" "She is better than Pasta;" "She is not;" and these remarks went on for the rest of the evening.