It must not be supposed that the great prima donna of the season had been merged below the surface in this inundation of unexpected novelty. The "Tempesta" was still to be found "upon the bills," and on the night of the 18th of July, Madame Rossi Sontag appeared for the first time in the "Figlia del Reggimento." Perhaps during her whole career at Her Majesty's Theatre, since her return to the stage, Madame Sontag had never undertaken a more hazardous part. The "Figlia" was so identified in the public mind with Jenny Lind, that it was impossible for Madame Sontag to escape comparisons on the part of a public which always will insist, against all the rules of true judgment, in making them. The Anglo-Italian stage had known no "Figlia" but its own cherished and petted daughter of adoption. The town still swarmed with coloured engravings and statuettes of its beloved "Child of the Regiment." But from this ordeal Madame Sontag came forthwith credit. Her exquisite grace and the perfection of her singing nobody questioned. But it was as the consummate actress, full of imaginative detail, and inventive bye-play, that she shone forth conspicuously. The public found that instead of one "daughter," it now had two, and in spite of strong impressions of "first love," could hardly decide which of the two it now loved the best.