THE OPERA OF CAMILLA She was dressed like a noble damsel from the hands of Titian.

An Italian audience cannot but be critical in their first glance at a prima donna, for they are asked to do homage to a queen who is to be taken on her merits: all that they have heard and have been taught to expect of her is compared swiftly with the observation of her appearance and her manner.

She is crucially examined to discover defects.

There is no boisterous loyalty at the outset.

And as it was now evident that Vittoria had chosen to impersonate a significant character, her indications of method were jealously watched for a sign of inequality, either in her, motion, or the force of her eyes.