It had been pointed out to Giuglini that if he sang on the 31st of the month, as I originally intended him to do, he would be singing once too often--once more than had been stipulated for in his engagement; and thereupon he would be in a position to enforce from me whatever penalty be might choose to impose. This he deigned to fix at the moderate sum of £160; and his claim was sent in to me just before--in consequence of the continued illness of Mdlle. Borchardt--I had decided to change the opera, and out of respect for Signor Giuglini's own feelings, to assign the tenor part in _Norma_ not to him, but to an artist who was not bound to keep clear of this opera either by a peculiarly solemn oath or by painful recollections of a dab on the nose from a vigorously-handled drum-stick. The opera, then, was announced with Signor Corsi in the part of "Pollio;" and there seemed to be no reason why the performance should not go off successfully. I noticed, however, some ominous signs, and, for one reason or another, it seemed to me that the carefully-laid mine, if it exploded at all, would burst that evening. Giuglini was in a very excited condition, and I knew that whenever he felt unduly agitated he sent for "Mamma Puzzi" to come and soothe his irritated nerves. I did not know where Mdme. Puzzi was; but I _did_ know that she might at any moment arrive, and I therefore gave orders that she was not, under any circumstances, to be admitted. The stage door was closed absolutely against her. With or without explanations, she was not to be let in. When the night for the performance arrived I took care to see that Signor Corsi, at the proper time, was fitly attired for the character of "Pollio." He had often played the part before in company with Mdlle. Titiens, and I saw no reason for believing that his performance would not on this, as on previous occasions, be thoroughly satisfactory. The house was crowded. "Oroveso" had sung his air, and was being warmly applauded. I stood at the wing close to the first entrance and waited for Corsi to appear. The music in announcement of "Pollio's" entry was played; but no "Pollio" was to be seen. I motioned to Arditi, and the introductory strains were heard again. Still no "Pollio." I rushed to Corsi's room in order to find out the meaning of the delay, when, to my consternation and horror, I saw Corsi seated in a chair with Mdme. Puzzi--Mdme. Puzzi, to whom all access to the theatre had been so strictly forbidden!--pulling off his fleshings (she had already divested him of his upper garments) while Giuglini was hurriedly taking off his costume of ordinary life in order to put on the uniform of the Roman soldier. Giuglini, I found, had some days before telegraphed to Mdme. Puzzi at Turin begging his "mamma" to hurry to Edinburgh, where her child was in a terrible difficulty; and to Edinburgh she had come.