In Act II. he simply had to enter the cottage leading "Martha," and afterwards to attempt to spin (two drawing-room chairs served as spinning wheels), until at last the wheels would be taken away by the two ladies. When the spinning quartet began he was merely to laugh heartily and appear joyous. In the third act I explained that he might sing his song provided always that he confined himself to Italian words. It did not much matter, in view of the public, what he sang if he only kept clear of English; and I advised him to keep repeating _M'appari_ as often as he felt inclined. This he did, and in consequence of a printed apology which I had previously circulated in the theatre, to the effect that Signor Giuglini had refused his services without assigning any reason, my new tenor was warmly applauded, receiving for his principal air a double encore, and afterwards a recall. In the last act there was, of course, nothing for him to do, and the newspapers of the next morning were unanimous in his praise. The singer who rendered me these services was Mr. George Bolton, who some years later (his voice having by that time become a baritone) played with great success the part of "Petruchio" to Minnie Hauk's "Katherine" in Goetz's _Taming of the Shrew_. In the course of the season, which ended about the 18th December, I had accepted an engagement for Mdlle. Titiens to sing at the San Carlo of Naples. The contract was made direct with the Prefect, at the recommendation of the "Commissione." The leading soprano engaged by the manager had not given satisfaction, and the "Commissione" had the power, before handing over the subvention, of insisting on the engagement of a capable artist so as to restore the fortunes of the establishment. Naturally, then, on my arrival with the great prima donna every possible difficulty was thrown in our way. At length the _début_ took place, when Titiens appeared as "Lucrezia Borgia." The vast theatre was crowded from floor to ceiling, the first four rows of stalls being occupied by the most critical "cognoscenti," who literally watched every breath and every phrase, ready in case of need to express hostile opinions. At length the boat came on, and "Lucrezia" stepped on to the stage amidst the most solemn silence; and it was not until the close of the _cabaletta_, of the first aria that the public manifested its approbation, when it seemed as if a revolution were taking place. Mdlle. Titiens' success went on increasing nightly, and the theatre was proportionately crowded.