The play being ended, the next part of the entertainment consisted in the _Bolero_. This is danced by two persons; the man, in the dress of an Andalusian peasant--for to Andalusia the dance properly belongs--with dark embroidered jacket, short white embroidered waistcoat, crimson sash, white tight small clothes, white stockings, and the hair in a black silk knot; his partner in a gaudy dress of red, embroidered with gold. These are nothing more than the usual holiday-dresses of the Andalusian peasantry. The dance itself, is a quick minuet; advancing, retiring, and turning; the feet all the time performing a step, and the hands occupied with the castanets. I had heard much of the indelicacy of the Bolero, but I could find nothing in it in the slightest degree indecorous. The dance is long, at least it is often repeated; three or four times the dancing ceases, the music continuing, and the dancers standing opposite to each other; and after a short interval, the entertainment is resumed. At this theatre, and at the _Teatro de la Cruz_, Italian operas are performed twice a week; sometimes at the one theatre, and sometimes at the other; a very bad arrangement, because it forces the lover of Italian music to have a box in both houses; and after all, one is apt to make a mistake as to the house in which the opera is performed. The Italian opera is a losing concern in Madrid; the prices are too low, and the house is not large enough to ensure a return. The star, when I was in Madrid, was a _Signora Tossi_, who received no less than 1,200_l._ sterling to perform three nights a week for five months. This Signora Tossi was a remarkable favourite in Madrid; she performed in an opera which had been written expressly for her; and when this opera was announced, the house would have been filled even if it had been three times larger. Nothing could gain admittance but bribery; if one inquired for a ticket, the answer invariably was, that all were sold: but if one chose to add, “I would give a handsome gratuity for a ticket,” a ticket was produced, and an additional dollar given for it. Upon this occasion the corregidor of Madrid pocketed as many as 40 or 50 dollars a day by trafficking in tickets; he bought 40 or 50 tickets before the theatre opened, and sold them during the day at different prices, according to the demand. So great was the rage for the opera, and so great the dearth of tickets, that the most disgraceful means were resorted to in order to gain admittance: one evening I myself saw two persons detected with forged tickets. The excellence of the Opera of Madrid last season, almost excused the madness,--not the meanness of the public. Tossi, I thought a great singer: she resembles Catalini more nearly than any one I have ever heard; but she possesses more sweetness and melody of tone; and is a better actress, and a finer woman than Catalini ever was. The other vocal parts were well supported, and the orchestra, with a hint