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Updated: May 24, 2025
The chapel in which we sat to hear the oratorio was dark and solemn; a screen of lofty pillars, formed of black marble and highly polished, excluded the glow of the western sky, and reflected the lamps which burn perpetually before the altar. Every tribune was thronged with people, whose profound silence showed them worthy auditors of Bertoni's compositions.
B. accompanied me to the Mendicanti, one of the four conservatorios, which give the best musical education conceivable to near one hundred young women. You may imagine how admirably those of the Mendicanti in particular are taught, since their establishment is under Bertoni's direction, who breathes around him the very soul of grace and harmony.
I soon found myself in the midst of my favourite hills, upon slopes covered with clover, and shaded by cherry-trees. Bending down their boughs I gathered the fruit, and grew cooler and happier every instant. We dined very comfortably in a strange hall, where I pitched my pianoforte, and sang the voluptuous airs of Bertoni's Armida.
Signora Cecilia Giuliani, a scholar of Bertoni's, who has received some overtures from the London theatre lately, will, if she ever arrives there, bear testimony to the truth of an assertion very difficult to believe, and to which I should hardly myself give credit, were I not witness to it every morning that I chuse to call and confirm my own belief.
There are few things I shall regret more at Venice, than this conservatorio. Whenever I am musically given, I fly to it, and hear the most striking finales in Bertoni's and Anfosse's operas, as long and often as I please. The sight of the orchestra still makes me smile.
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