I afterwards produced all the great operas I had been giving in London, including the _Magic Flute_, _Talismano_, _Robert le Diable,_ etc., etc., my season continuing without intermission some six months, during which time I visited Boston, where public breakfasts and other entertainments were given to my singers. A special train was fitted up expressly for my large Company, and all the carriages elegantly decorated. I had also placed at my disposal by the Railroad Company a carriage containing writing-room, drawing-room, bedrooms, and kitchen stocked with wines and provisions, under the direction of a _chef_. Whilst at Boston I had the honour of making the acquaintance of Longfellow, who, being anxious to hear Mdme. Gerster, occupied my box one evening, the attention of the audience being very much divided between its occupant and Mdme. Gerster, who on that occasion was singing "Elvira" in _I Puritani_. He likewise attended the final morning performance, which took place on the last Saturday of our engagement, when Gerster's receipts for "Lucia" reached no less than £1,400. We left that evening for Chicago, a distance of some 1,100 miles, arriving in that city just in time to commence the opera the following Monday, when Gerster appeared and created an excitement only equalled by that of Jenny Lind. I recollect, by-the-bye, an amusing incident that occurred the second night, on the occasion of the performance of _Le Nozze di Figaro_. On the right and left-hand sides of the proscenium were two dressing-rooms alike in every respect. Madame Gerster, however, selected the one on the right-hand side, which at once gave the room the appellation of the prima donna's room. On the following evening _Le Nozze di Figaro_ was to be performed, in which Marie Roze was to take the part of "Susanna," and Minnie Hauk that of "Cherubino." In order to secure the prima donna's room Minnie Hauk went to the theatre with her maid as early as three o'clock in the afternoon and placed her dresses in it, also her theatrical trunk. At four o'clock Marie Roze's maid, thinking to be the first in the field, arrived for the purpose of placing Marie Roze's dresses and theatre trunks in the coveted apartment. Finding the room already occupied, she mentioned it to Marie's husband, who with a couple of stage men speedily removed the trunks and dresses, put them in the room opposite, and replaced them by Marie's. He then went back to his hotel, desiring Marie to be at the theatre as early as six o'clock. At about 5.30 Minnie Hauk's agent passed by to see if all was in order and found Marie Roze's theatrical box and costumes where Minnie Hauk's were supposed to be. He consequently ordered the removal of Marie Roze's dresses and trunk, replaced those of Minnie Hauk, and affixed to the door a padlock which he had brought with him.