until he should have composed a mass. The Mozarts, father and son, consented to the trial, knowing it was entirely within the boy's powers. For more than a week did he stay in that room, seeing no one save the servant who brought his meals: At the end of this time he sent to the bishop his composition, which, after trial by the court band, the bishop ordered to be placed in the repertoire of the cathedral choir. But even after this display of genius the prelate was lacking in that appreciation of art which would have led him to become a beneficent patron.
11.—IRISH ENTHUSIASM.
On the last night of her series of performances at Dublin, in 1868, Mdlle. Titiens was the recipient of such an ovation as is seldom given even to those petted beings, operatic prime donne.
At the close of the aria, "Ocean, Thou Mighty Monster," in Weber's "Oberon," the audience rose en masse, some calling for a repetition and others for favorite Irish songs. The uproar continued for ten or fifteen minutes before quiet could be restored, and then the diva decided to sing the favorite, "Last Rose of Summer." But the orchestra had no music for the song and a further delay ensued. Finally, Signor Bettini was seen pushing a small piano out on the stage, and meanwhile Titiens assisted the conductor to climb up out of the orchestra. In turning the piano around the slant of the stage caused it to tip over. Now, behind the wings were the rest of the company waiting to go on with the next scene. Among them were several attired as demons. On the upsetting of the piano out rushed half a dozen devils to set things straight—an unusual occupation for the satanic brood.
Again silence was secured, and this time Titiens finished her song. At its close the uproarious applause was again indulged in.
