eek, that were attended by
all the most noted artists who lived in Paris or visited the city during
that summer.

In the early winter, in reply to a summons from London, Madam Urso
appeared at the Memorial Concert to Mendelssohn, and played his great
concerto at the Crystal Palace, Sydenham. This was her first appearance
in England, and, as we can well understand, it immediately placed her in
a foremost position among the artists of that country. After giving a
few concerts in Paris, she again took up her artist life, and appeared
at the St. James' Hall in February, 1872.

These two concerts in London and Sydenham at once opened wide the door
to a new field in which her talents found general recognition and
constant employment. If the California experience seemed like some
Eastern dream, this season in London was like stepping back into the
last century, when princes and dukes gave banquets to musicians and
entertained minstrels with royal liberality. Invitations to play before
both the Old and New Philharmonic Societies, and at many other notable
musical gatherings came to her faster than she could accept them. She
played for the Royal Society of Musicians, the Duke of Edinburgh
presiding on the occasion, and she was also asked by the Duke of
Edinburgh to play at Montague House at a reception given in his honor by
the Duchess of Buccleuch. Other persons of distinction in London invited
her, and everywhere she charmed them all by the grace and beautiful
finish of her playing, and by her unaffected and simple manners.
Invitations to play at private houses came so fast that a carriage was
kept in waiting to take her from house to house, that she might appear
and play at several different places the same night.

To republican readers, this appearing at private houses for pay may
seem peculiar and perhaps beneath the dignity of the true artist. It is
the custom of the country. Persons of wealth wishing to entertain their
friends give a musical evening, at which a programme of choice music is
given by artists hired for the occasion. Usually each performer gives
one piece and then retires. He is not expected to appear till just
before his turn comes, and then he briefly presents his respects to the
lady of the house, plays his little piece and gathers his wedding
garments about him and flies away in a Hansom cab to the next house,
where he does it all over again. Then he rattles through the deserted
streets at break-neck s