A few days afterwards, I dined with the Pacha Osman and met my Effendi Ismail. He was very friendly to me, and I reciprocated his attentions, though I paid no attention to the reproaches he addressed to me for not having come to breakfast with him for such a long time. I could not refuse to dine at his house with Bonneval, and he treated me to a very pleasing sight; Neapolitan slaves, men and women, performed a pantomime and some Calabrian dances. M. de Bonneval happened to mention the dance called forlana, and Ismail expressing a great wish to know it, I told him that I could give him that pleasure if I had a Venetian woman to dance with and a fiddler who knew the time. I took a violin, and played the forlana, but, even if the partner had been found, I could not play and dance at the same time. Ismail whispered a few words to one of his eunuchs, who went out of the room and returned soon with some message that he delivered to him. The effendi told me that he had found the partner I wanted, and I answered that the musician could be had easily, if he would send a note to the Venetian Embassy, which was done at once. The Bailo Dona sent one of his men who played the violin well enough for dancing purposes. As soon as the musician was ready, a door was thrown open, and a fine looking woman came in, her face covered with a black velvet mask, such as we call moretta in Venice. The appearance of that beautiful masked woman surprised and delighted every one of the guests, for it was impossible to imagine a more interesting object, not only on account of the beauty of that part of the face which the mask left exposed, but also for the elegance of her shape, the perfection of her figure, and the exquisite taste displayed in her costume. The nymph took her place, I did the same, and we danced the forlana six times without stopping. I was in perspiration and out of breath, for the forlana is the most violent of our national dances; but my beautiful partner stood near me without betraying the slightest fatigue, and seemed to challenge me to a new performance. At the round of the dance, which is the most difficult step, she seemed to have wings. I was astounded, for I had never seen anyone, even in Venice, dance the forlana so splendidly. After a few minutes rest, rather ashamed of my feeling tired, I went up to her, and said, ‘Ancora sei, a poi basta, se non volete vedermi a morire.’ She would have answered me if she had been able, but she wore one of those cruel masks which forbid speech. But a pressure of her hand which nobody could see made me guess all I wanted to know. The moment we finished dancing the eunuch opened the door, and my lovely partner disappeared. Ismail could not thank me enough, but it was I who owed him my thanks, for it was the only real pleasure which I enjoyed in Constantinople. I asked him whether the lady was from Venice, but he only answered by a significant smile.