rded papers which
were supposed to establish his innocence of the charges made against
him by his irate and jealous spouse, the case was closed, and no notice
was taken of the defence. Matters seem, however, to have arranged
themselves to the satisfaction of all concerned, for the Baron married
the young lady who had been the cause of Lucca's jealousy, and Lucca
married Baron von Wallhofen, an intimate friend of Von Rahden, who,
also, had been wounded at Mars-La-Tour, and who had followed her to
America.

Pauline Lucca was one of the few singers gifted with original genius,
and she imparted specific individuality to each of her characters, even
the most colorless. Her versatility was very great, and she had a
repertoire of fifty-six roles. Her voice was a full soprano of
sympathetic quality, and with a range of two and a half octaves,
extending to C in alt, and capable of expressing every kind of emotion.
Like Patti she was of slender figure, and at one time she played
Marguerite in "Faust" on alternate nights with her. Lucca was
essentially a lyric actress rather than a singer pure and simple, and
had the power of realizing the highest dramatic conception both of poet
and composer; she was able to draw inspiration from the abstract idea,
and she has been called "transcendentally human."

After her memorable tour in the United States, in 1872, Madame Lucca
continued before the public in Europe until 1884, since which time she
has lived in Vienna, and devoted herself chiefly to teaching.

While Lucca was thus rising to the highest pinnacles of fame, Patti also
was scoring great successes. In London she had become a permanent
favorite, and from the year 1861, in which she made her European debut,
for more than twenty years she was engaged every season at Covent
Garden.

In spite of all rivalry, she held her position there as the most popular
opera singer of modern times. She has enjoyed the same popularity on
the continent, and in America also she has been immensely popular.

[Illustration: _Patti._]

Adelina Patti's voice was one of moderate power, but great range and of
wonderful flexibility. Her production was faultless, and she was, and
is, undoubtedly, one of the greatest mistresses of vocalization of the
century. As an actress, she could not compare with many other singers,
and her greatest successes were gained in such operas as made the least
demand upon the histrionic capabilities of the performer. Her rep