nearly a
quarter of an hour was spent in contention, but at length the pit and
boxes gained the victory, and the duet was repeated. The two actors
stood anxiously on the stage all the while." The great composer paid
her one of the prettiest compliments she ever received. Reynolds was
painting her portrait in the character of St. Cecilia, and one day Haydn
called just as it was being finished. Haydn contemplated the picture
very attentively, then said suddenly, "But you have made a great
mistake." The painter started up aghast. "How! what?" "Why," said Haydn,
"you have represented Mrs. Billington listening to the angels; you
should have made the angels listening to her!" Mrs. Billington blushed
with pleasure. "Oh, you dear man!" cried she, throwing her arms round
his neck and kissing him.

II.

Mrs. Billington seems to have entertained the notion in 1794 of quitting
the stage, and went abroad to free herself from the protests and
reproaches which she knew the announcement of her purpose would call
forth if she remained in England. Accompanied by her husband and
brother, she sauntered leisurely through Europe, for her professional
exertions had already brought her a comfortable fortune. A trivial
accident set her feet again in the path which she had designed to
forsake, and which she was destined to adorn with a more brilliant
distinction. The party had traveled _incognito_, but on arriving in
Naples a babbling servant revealed the identity of the great singer,
which speedily became known to Lady Hamilton, Lord Nelson's friend, then
domiciled in Naples as the favorite of the royal family. Lady Hamilton
insisted on presenting Mrs. Billington to the Queen, and she was
persuaded to sing in a private concert before their Majesties, which was
swiftly succeeded by an invitation, so urgent as to take the color of
command, to sing at the San Carlo. So the English prima donna made
her _debut_ before the Neapolitans in "Inez di Castro," which had been
specially arranged for her by Francesco Bianchi. The fervid Naples
audience received her with passionate acclamations, to which she had
never been accustomed from the more impassive English. Hitherto her
reputation had been mostly identified with English opera; thenceforward
she was to be known chiefly as a brilliant exponent of the Italian
school of music.

Paesiello's "Didone," Paer's "Ero e Leandro," and Guglielmi's "Deborah e
Sisera" rapidly succeeded, each one confirming a