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 ADELAIDE PHILLIPS. 349 his face revealing that he had been solacing his imprison- ment by helping himself to some of the sweetmeats on the shelves, and he assumed such a look as only he could -call up. It was all over with me and my song ; fortu- nately, the audience also were too much convulsed with laughter to notice my inability to proceed, until it was 'possible for the play to go on." Those who have seen Mr. Warren at his funniest will not wonder at Miss Phillips' loss of self-control. When she was sixteen or seventeen years of age, her parents and relatives, recognizing the unusual power and beauty of her voice — a rich contralto — decided that she would do wisely to leave the stage for a time and study for the Italian opera. Her teachers had the utmost faith in her success. Jenny Lind was then in Boston, and Adelaide Phillips was introduced, and sang to her. The next day she received a friendly letter in which Miss Lind recommended Emanuel Garcia, her own instructor, as the most suitable teacher for her young friend, and added much wise and kindly advice concerning the career to which she aspired. Enclosed in the letter was a check for a thousand dollars. In 1852, Adelaide Phillips went to London, and remained there nearly two years pursuing her studies under Garcia. From London she went to Italy, accom- panied by her father and sister, that she might better acquire the Italian language, and receive the training of Signor Profondo in operatic acting. While in Italy she kept a journal — a brief, business-like record, encumbered with very few of the raptures, sentiments, and gay non- sense that fill the pages of most young girls' diaries. Here is an extract from the first entry : " Mr. Biandi came and asked me if I wanted an engagement ; he had spoken of me to one of the agents who wanted a contralto. The agent came accordingly.