room and informed her that she was to be presented to the Shah. But she objected, as she had removed her gorgeous costume used in "Traviata" and was arrayed in a ragged old dress, with hair disheveled, and without shoes, for her character as Mignon. But Mapleson persuaded her that it was a command, and that she must obey.
They went to the royal box; but, before her arrival could be announced to his serene Highness, Nilsson had walked into the room in her tramp-like costume, and going at once to the Shah she explained in French that she had prepared "a superb costume expressly for your Majesty," but that by his tardiness he missed seeing her in it, and now could only see her in this miserable rig, and without shoes.
Meanwhile she was gesticulating with her right hand, and at the end of her remarks pointed to her bare feet. The Shah bent forward to see through his spectacles what she was pointing to, and at the same time she raised her foot to emphasize her remarks. The result was that that member came within an inch or so of the royal Persian nose.
So struck was the Shah at the prima donna's originality that he remained until after midnight to see her in "Mignon." Nilsson was appeased, but the Lord Mayor and other notables of London were kept waiting for him from half-past nine until half-past twelve at the Goldsmith's ball.
109.—MODULATIONS.
One prominent point of difference between the old classic and the modern schools of operatic composition is in the matter of modulation. The older writers, Mozart, Cimarosa, Spontini, et al, used comparatively few changes of key. The tonality was preserved, or on being departed from, was left in a formal and in a perfectly clear style.
