In time Cuzzoni despite her lack of taste in dressing was to set fashions; and a brown and silver attire in which she appeared in “Rodelinda” so captivated the ladies that, with modish variations, it was to be the rage for years. The various castrati (notably the great Senesino) were in many ways as capricious and difficult to manage as the prima donnas. Senesino, having irritated the Earl of Peterborough by reason of some reflection on Anastasia Robinson was flogged by her husband. The scandal enchanted the drawing rooms and Society was even more delighted when the singer, appearing in “Giulio Cesare” was frightened out of his wits and burst into tears because a piece of scenery fell at his feet at the very moment when, as Julius Caesar, he had to sing words to the effect that “Caesar knows no fear!” In time came the greatest castrato of them all, the incredible Farinelli, who earned so much in London that when he retired to Italy he built himself a palace there which he sarcastically named “English Folly”. People used to shout at the Opera that there was only “One God and one Farinelli!” And describing a London birthday party where this divinity was among the guests the Duchess of Portland wrote: “There were about forty gentlemen that had an entertainment, and Farinelli wore a magnificent suit of clothes, and charmed the company with his voice as Orpheus did (and so kept them from drinking).” On the other hand when this god was once so imprudent as to walk uninvited into a party at the Duke of Modena’s in St. James’s Street the infuriated host showed him the door with the words: “Get out, fellow! None but gentlemen come here!”