Lola, accordingly, made her bow to the Parisian public on Saturday, 30th March 1844, in _Il Lazzarone_, an opera in two acts by Halevy. Her audience was more fastidious than the playgoers of Dresden and Warsaw. Her beauty ravished them, but in her dancing they saw little merit. Seeing this, Lola made a characteristic bid for their favour. Her satin shoe had slipped off. Seizing it, she threw it with one of her superb gestures into the boxes, where it was pounced upon and brandished as a precious relic by a gentleman of fashion. The manoeuvre seems to have succeeded in its object, for the _Constitutionnel_ next morning found it necessary to warn young dancers against the danger of factitious applause, while "abstaining from criticising too severely a pretty woman who had not had time to study Parisian tastes." Theophile Gautier was less gallant:-- "We are reluctant," he writes, "to speak of Lola Montes, who reminds us by her Christian name of one of the prettiest women of Granada, and by her surname of the man who excited in us the most powerful dramatic emotions we have ever experienced--Montes, the most illustrious _espada_ of Spain. The only thing Andalusian about Mlle. Lola Montes is a pair of magnificent black eyes. She gabbles Spanish very indifferently, French hardly at all, and English passably [_sic_]. Which is her country? That is the question. We may say that Mlle. Lola has a little foot and pretty legs. Her use of these is another matter. The curiosity excited by her adventures with the northern police, and her conversations, _a coups de cravache_, with the Prussian _gens d'armes_, has not been satisfied, it must be admitted. Mlle. Lola Montes is certainly inferior to Dolores Serrai, who has, at least, the advantage of being a real Spaniard, and redeems her imperfections as a dancer by a voluptuous _abandon_, and an admirable fire and precision of rhythm. We suspect, after the recital of her equestrian exploits, that Mlle. Lola is more at home in the saddle than on the boards." As at Her Majesty's, so at the Opera. Lola's first appearance was her last. For the rest of the year, as far as I can learn, she was out of an engagement. She had, no doubt, made some money during her German and Russian tour, and Liszt would not have forgotten her when he started on his southern tour at the end of April.