the enterprise on its feet, and had run in debt nineteen thousand pounds.  He made his first appearance at the Lincoln’s Inn Opera in “Artaserse,” one of Hasse’s operas.  Several of the songs, however, were composed by Riccardo Broschi, the singer’s brother, especially for him, and these interpolations illustrated the powers of Farinelli in the most effective manner.  In one of these the first note was taken with such delicacy, swelled by minute degrees to such an amazing volume, and afterward diminished in the same manner to a mere point, that it was applauded for full five minutes.  Afterward he set off with such brilliance and rapidity of execution that the violins could not keep pace with him.  An incident commemorated in Hogarth’s “Rake’s Progress” occurred at this time, A lady of rank, carried beyond herself by admiration of the great singer, leaned out of her box and exclaimed, “One God and one Farinelli!” The great power of this singer’s art is also happily set forth in the following anecdote:  He was to appear for the first time with Senesino, another great singer, who of course was jealous of Farinelli’s unequaled renown.  The former had the part of a fierce tyrant, and Farinelli that of a hero in chains.  But in the course of the first song by his rival, Senesino forgot his assumed part altogether.  He was so moved and delighted that, in front of an immense audience, he rushed forward, clasped Farinelli in his arms, and burst into tears.  Never had there been such a ferment among English patrons of opera as was made by Farinelli’s singing.  The Prince of Wales gave him a gold snuff-box set with diamonds and rubies, in which were inclosed diamond knee-buckles, and a purse of one hundred guineas.  The courtiers and nobles followed in the wake of the Prince, and the costliest offerings were lavished on this spoiled favorite of art.  His income during three years in London was five thousand pounds a year, to which must be added quite as much more in gratuities and presents of different kinds.  On his return to Italy he built a splendid mansion, which he christened the “English Folly.”

Farinelli’s Spanish life was the most important episode in his career, if twenty-five years of experience may be called an episode.  His purpose in visiting Madrid in 1736 was to spend but a few months; but he arrived in the Spanish capital at a critical moment, and Fate decreed that he should take up a long residence here—­a residence marked by circumstances and honors without parallel in the life of any other singer.  Philip V. at this time was such a prey to depression that he neglected all the affairs of his kingdom.  “When Farinelli arrived, the Queen arranged a concert at which the monarch could hear the great singer without being seen.  The effect was remarkable, and Farinelli gained the respect, admiration, and favor of the whole court.  When he was asked by the grateful monarch to name his own reward, he answered that his best recompense would