beneath expectation in this opera was the great tenor himself; accustomed to parts of sublime energy, he roared like a sucking dove. From England the Countess Rossi went to Prussia. After having sung the usual time at Berlin, she repaired to Warsaw. In the Polish capital she was overtaken by a revolution--source of so many sanguinary conflicts in that unfortunate kingdom. However, this convulsion, so unfortunate for others, only led Madame de Rossi to new and increased triumphs. She removed to St. Petersburg; and there her singing produced unparalleled effect and the most lasting impression. The Emperor and Empress, from that moment, conceived for her the greatest partiality, and she was the object of even more than that delicate, as well as generous liberality, for which the court of the Czar is so justly renowned. In the mean time, the Count de Rossi had been compelled to separate momentarily from his lady. The aspect of affairs in Belgium demanded that a young and active diplomatist should immediately be dispatched to the court of the King of the Netherlands. The Sardinian Cabinet chose Count Rossi for this office, and he received orders in 1829 immediately to repair to Brussels. There he was still in 1830, when the revolution broke out--in truly lyrical style--after a performance of _Masaniello_! From Brussels, like the other members of the diplomatic body accredited at this Court, he went to the Hague, the residence of the King of Holland, still considered as the legitimate King of Belgium as well as Holland, until Talleyrand and his confederates in the Hollando-Belgian Conference said, like the quack doctor in Moliere, "_nous avons change tout cela_."