The Works of George W. M. Reynolds — page 74: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

THE OPERA BOX ay | ‘The letter addressed to me is as near as possible to the same effect,’ observed Lord Harold, reading over Saxon- dale’s shoulder the one just quoted. ‘ But really, to think that I can show any studied attentions to this Mr. Gun- thorpe — ” His words were interrupted by a sudden burst of applause which shook the entire house, and all eyes were in a moment directed to the stage, on which the débutante had just made her appearance. She was a heavenly creature, of sylphid form, airy lightness, and exquisite grace, and her beauty was of the most ravishing description. But it is not our intention to prolong this chapter by a description of Signora Vivaldi, inasmuch as we shall shortly have to introduce her more particularly to our readers, and shall then do ample justice to her rare attractions. For the present it will be sufficient to observe that her début was eminently successful, and that her dancing was the most finished illustration of “ the poetry of motion ”’ ever exhibited upon the stage. When the performance was over, the brilliant assembly began to melt away; and during half an hour the Hay- market and Pall Mall resounded with the cries of men sum- moning the different carriages. Hundreds of the proudest names of the British aristocracy were thus vociferated forth in rapid succession, while the roll of wheels, the trampling of horses, the crashing of steps let up and down, and the banging of carriage doors likewise mingled their sounds in one tremendous din. But at length the throng of equipages, with their prancing steeds and glaring lights, dispersed in all directions, and amongst the last that thus rolled away was that which bore Lord Harold Staunton’s party from the doors of the opera. GomiilGaooks (S(O)