She was invaluable to Mario in many ways, not only in connection with his art, but also with the occupations of his ordinary life. She was always punctual, and, indeed, a little before the time; whereas Mario was invariably late. He had always his cravat to tie or a fresh cigar to light just when the last moment for catching the train had arrived. He was the most inveterate smoker I ever knew. He had always a cigar in his mouth, except when he was on the stage and actually in the presence of the audience. When he came off, if only for a moment, he would take a puff at his still burning cigar, which he had carefully left in the wings where he would be sure to find it again. "Faust" in the garden scene passes for a few moments behind some bushes at the back of the stage. During those moments Mario had just time to enjoy a few whiffs, after which he returned to continue his love-making. Mario spent large sums of money on his favourite weed, and thought nothing of giving away a box of cigars to a friend for which he had paid (to some friendly tobacconist who had cheated him) £5 or £6 a hundred. About this time I charged Mr. Telbin and his talented sons to paint me the whole of the scenery for Meyerbeer's _Dinorah_, which was brought out in due course, Ilma de Murska appearing as the demented heroine, Gardoni as "Corentino," and Santley as "Hoel." It was a truly magnificent performance, well worthy the reputation of the theatre. Shortly afterwards I produced another classical opera, which was gladly welcomed by all musical amateurs. The work I refer to was Gluck's _Iphigenia in Tauris_--a work not less remarkable for its intrinsic merits than for having been the cause of one of the most fierce and prolonged artistic controversies on record. Paris, ever the _champ de bataille_ of such contests, was, figuratively speaking, shaken to its foundations by the antagonistic Gluckists and Piccinists; and the dispute was only ended by Gluck leaving France. This work was likewise magnificently put upon the stage, Titiens, Santley, and Gardoni really surpassing themselves. I afterwards had the honour of introducing Mozart's comic opera, _Il Seraglio_, in which Mdlle. Titiens appeared as "Constanza," the remaining personages being entrusted to Dr. Gunz, Signor, Stagno, Rokitanski, &c. One evening, when the opera of _Rigoletto_ was being performed, with Mongini as the "Duke," feeling tired, as I had been working in the theatre throughout the day, I went home just before the termination of the third act. I had been at home about three-quarters of an hour when my servant hurried up in a cab to inform me that the curtain had not yet risen for the final act, and that a dreadful disturbance was going on in consequence of some question with Mongini, who was brandishing a drawn sword and going to kill everybody. I immediately slipped on my clothes and went down to the theatre.