[Footnote 95: Naldi and Catalani require little notice; for the visage of the one, and the salary of the other, will enable us long to recollect these amusing vagabonds. Besides, we are still black and blue from the squeeze on the first night of the Lady's appearance in trousers. [Guiseppe Naldi (1770-1820) made his 'début' on the London stage at the King's Theatre in April, 1806. In conjunction with Catalani and Braham, he gave concerts at Willis' Rooms. Angelica Catalani (circ. 1785-1849), a famous soprano, Italian by birth and training, made her 'début' at Venice in 1795. She remained in England for eight years (1806-14). Her first appearance in England was at the King's Theatre, in Portogallo's 'Semiramide,' in 1806. Her large salary was one of the causes which provoked the O. P. (Old Prices) Riots in December, 1809, at Covent Garden. Praed says of his 'Ball Room Belle'-- "She warbled Handel: it was grand; She made the Catalani jealous."] [Footnote 96: Moore says that the following twenty lines were struck off one night after Lord Byron's return from the Opera, and sent the next morning to the printer. The date of the letter to Dallas, with which the lines were enclosed, suggests that the representation which provoked the outburst was that of 'I Villegiatori Rezzani,' at the King's Theatre, February 21, 1809. The first piece, in which Naldi and Catalani were the principal singers, was followed by d'Egville's musical extravaganza, 'Don Quichotte, on les Noces de Gamache.' In the 'corps de ballet' were Deshayes, for many years master of the 'ballet' at the King's Theatre; Miss Gayton, who had played a Sylph at Drury Lane as early as 1806 (she was married, March 18, 1809, to the Rev. William Murray, brother of Sir James Pulteney, Bart.--'Morning Chronicle,' December 30, 1810), and Mademoiselle Angiolini, "elegant of figure, 'petite', but finely formed, with the manner of Vestris." Mademoiselle Presle does not seem to have taken part in 'Don Quichotte;' but she was well known as 'première danseuse' in 'La Belle Laitière, La Fête Chinoise,' and other ballets.]] [Footnote 97: For "whet" Editions 1-5 read "raise." Lines 632-637 are marked "good" in the Annotated Fourth Edition.] [Footnote 98: To prevent any blunder, such as mistaking a street for a man, I beg leave to state, that it is the institution, and not the Duke of that name, which is here alluded to.