One of the greatest enjoyments of the court of Saxony during the reign of both Augustus's was the opera, one of the best of those times in Europe and in some respect perhaps even superior to the most famous theatres and orchestras.

Excellent as was the selection of singers in Augustus the Strong's times, the opera was in no way inferior during the reign of his son, who was also fond of music. While listening to the music he was exempt from talking, which he disliked, and permitted to plunge into reverie, in which he spent almost his whole life.

The French singers of the King, at the head of whom was Louis AndrÉ, numbered about twenty and with them from time to time sang Germans, such as the tenor Gotzel, and Italians such as Annibal.

The court orchestra under the famous Hasse, Faustina's husband in name, was composed of fifty members; besides this there was also a Polish orchestra for chamber music, conducted by Schltze, which consisted of seventeen members. The King would take it to Warsaw when staying there a long time.

Operas and French comedies were performed by turns, for which purpose there were eleven actors and sixteen actresses, and in order to vary the performance there was a French ballet composed of sixty people under the direction of M. Faxier.

Enormous sums of money were spent to maintain so large a company. When they were going to give Hasse's opera 'Egio,' for which Metastasio wrote the libretto on the triumph of Caesar, conqueror of barbarism, there were on the stage a hundred horses, the whole Roman senate, knights, lictors, pretorian guards, heavy and light cavalry, infantry; and the booty was represented by gold and silver lent from the king's treasury for use on the stage. The spectators were amazed, the members of the orchestra were stupefied, and it is a fact that the drummer made a hole in the drum from sheer astonishment. There were two hundred and fifty people on the stage; the opera house was lighted with eight thousand wax candles and the manager was brought specially from Paris; his name was Servadoni. Some of the performances cost as much as 100,000 thalers.

Faustina Bordoni, still beautiful in figure and fascinating in voice, made a great impression on Augustus III. The same opera would be repeated again and again for months and the enthusiastic and dreamy king never tired of the same songs, which would lull him charmingly in the land of dreams.

About that time, besides Faustina, who ruled absolutely behind the stage, appeared the so-called Faustina the second, Teresa Abbuzzi Todeschi, not younger, but perhaps more beautiful, and equally daring. It was said that BrÜhl was her patron.

That day, after being performed many times, 'Cleophile' was again to be repeated. The King was already in his box, the theatre was full, the hour arrived--but the curtain did not rise.

This was most unusual. But la diva Faustina was a privileged person; they waited patiently.

In the mean while a storm was raging behind the stage. Faustina would not sing with Teresa--Teresa swore that she would not appear on the stage with Faustina.

Nobody knew why they were so angry. They both quarrelled madly, but though their tongues were let loose, they did not reveal the cause of their wrath.

A third singer, called Piloja, stood aside, listening to the stream of coarse street language, and smiled as though the spectator of a comedy.

The voices from behind the stage reached the hall, and Sulkowski sent a page to learn what the trouble was. The page returned, having learned no more than that it would require Neptune with a three-pronged fork to pacify the excited waves. Sulkowski whispered to the King and a page was despatched for Father Guarini who alone could unravel the mystery.

In the meanwhile Faustina and Teresa stood opposite to each other as though ready for a fight, both were ready dressed for the stage and neither paid any attention to the fact that their anger ruined the colours with which their faces were painted.

The duel might have been fought, had not Father Guarini rushed in like Deus ex machina. Seeing him both women became silent. The Padre looked at them, then took Faustina aside. He seemed to be scolding her tenderly.

A wave of expectation followed the dispute. The orchestra began to tune their instruments. Faustina went immediately to the mirror, which was a good sign, and Guarini began to talk to Teresa, threatening her with a finger laid on his big nose. Teresa was nearly crying. They whispered for a while, then the Padre cried:

'Pace! If you are stubborn, mia cara, you might cader dalla papella nelle brage. Hasten. The overture should commence. The King is waiting.'

At that moment BrÜhl came behind the stage; he looked at Faustina, nodded to her, then at Teresa, to whom he made some sign, and while the orchestra was playing, all took their places.

Father Guarini nodded to BrÜhl, and they both went through narrow passages in which the managers were omnipotent, making storms, thunderbolts, ruling over heavens and gods, into a small room behind the stage, in which a dressing table and women's clothing indicated that it was the dressing room of one of these ladies, who not long ago quarrelled so passionately, and who were now singing a most harmonious duet.

Guarini and BrÜhl were both tired and silent, they sat beside each other, looking into each other's faces; the Jesuit began to smile.

'Here,' he said, 'nobody can see or hear us, it is the hiding place of that viper Teresa, here we are safe. Let us talk.'

He clasped BrÜhl's knee.

BrÜhl bent to the Jesuit's ear.

'Lichtenstein has the plan; go with him to Vienna.'

'Va bene,' said Guarini. 'I prepared the Queen. I am certain that Sulkowski threatens that he will drive us from the court, that he will separate the King from the Queen, and that he will give him somebody else.'

The Jesuit laughed and shrugged his shoulders.

'He thought of it a little too late!'

BrÜhl's face became gloomy.

'One must know how to act with the King,' said Guarini. 'It is not his fault that he inherited his father's passions and that he must fight against them. The Bible calls it visiting the sins of the fathers upon the children. The Great Augustus in giving him life gave him also a passionate disposition. He will not be able to control it, therefore we must at least guard it from scandal, shield his sins and make them secret, and not allow them to be suspected. If we required from him absolute purity of life, there would be outbursts of this passion. Cosa fatta capo ha. What is done is well done. Sulkowski calculated badly, poor thing; the place is taken, the transaction is closed and although the King loves him he will not betray his secret to him. We are the masters of the situation; and I rejoice, for I know that I save a soul--the sin I take on myself.'

They began to whisper.

'Sulkowski,' said BrÜhl, 'is wearied; the King made him a general, and he cannot become famous by knightly deeds during the peace. He mentioned that he would like to make a military excursion on the Rhine or into Hungary. Did the King himself suggest that idea to him? During that time--'

Guarini muttered that he understood and approved the idea.

'I will tell the King that Sulkowski needs rest, and everything shall be done.'

The Italian made some quick gestures like a magician's pass before BrÜhl's eyes, rose and continued:

'Go to the King, applaud Faustina in order to please him; do not prevent Sulkowski from being near the King. I have good reason to believe that he is going to criticise the singer; the King will be annoyed, and it will be useful.'

He laughed, made a movement with his head, opened the door, and having stepped out into the dark labyrinth of passages behind the stage, disappeared.

BrÜhl presently appeared in the King's box.

The opera house was profusely illuminated. The court, as splendid as in Augustus II's time, was gathered there. The Polish nobles, clad in their rich national costumes, shining with precious stones, occupied the first places. The King looked towards them with a friendly smile. Among the ladies one could see the most brilliant stars of the court; the richly dressed Countess Moszynski, proud Frau BrÜhl, quiet Countess Sulkowski, the wives of the envoys, the Queen's ladies-in-waiting, everybody who had access to the court.

The King turned towards the stage every time the beautiful Faustina came upon it, and listening to her voice, closed his eyes as if he dreamed of angels. Sometimes he would applaud la diva, and then everybody clapped their hands.

The King very seldom looked towards the beautiful ladies and when he did glance their way, his eyes immediately returned to Faustina.

His admiration for her was justified by her voice.

Frau BrÜhl, luxuriously dressed, was sitting opposite the King, looking thoughtful. Her great challenging beauty attracted everyone's attention; the King alone remained unconscious of it, or did not wish to see her, and had not Augustus III been a simple-minded man, one might have suspected that he wished to hide something.

Beside Frau BrÜhl, sat, modestly dressed, the Countess Sulkowski, formerly the Queen's lady-in-waiting, nÉe von Stein Jettigen. Her beautiful face had not the irresistible charm so attractive in Frau BrÜhl. With the Countess Sulkowski was a young girl. Nobody knew her. But being with the Countess as well as by her face and dress, one could guess that she belonged to a distinguished family.

The beautiful women of those times, more than any other, were remarkable for their ample, round figures. Small and frail girls found no admirers. Those famous favourites of Augustus II's were almost all bold riders, fond of hunting, of rifles and horses, looking like silvan goddesses, not frightened to meet a wild beast.

The unknown young girl, sitting with the Countess Sulkowski, was one of those beauties and looked like a flower blossoming on a strong stem. Pink and white, built like Diana, black-eyed and black-haired, she looked about her boldly and proudly. But in that daring manner there was yet a childlike innocence of any experience of the world. Her eyes looked at everything with childlike enthusiasm and boldness.

A black dress with some scarlet ribbons and a few jewels enhanced her wonderful beauty; all eyes were turned inquisitively towards her, and their owners asked feverishly:

'Who is she?'

Frau BrÜhl also looked at her neighbour.

The Countess Moszynski did not take her eyes off her, and the young men went in search of the Countess Sulkowski's servants in order to learn something from them; but they learned nothing more than that the young lady was the Countess' relation, and that she came from Vienna.

In the meanwhile Sulkowski, having noticed that BrÜhl went to his wife, bent to the King's ear and whispered:

'Your Majesty, works of art are worthy of admiration, but the work of the Creator also deserves attention. Although the Countess Stein is my wife's relation, I venture to draw your Majesty's attention to her extraordinary beauty. Neither Titian nor Paul Veronese ever created anything like her.'

On hearing this, the King turned, as though frightened, to his minister, looked at him reproachfully and in surprise, and plunged into further admiration of Faustina's voice and charms. Sulkowski withdrew. He knew the King so well that he was certain that, struggle with himself as he might, he would play the same comedy as he did with Titian's Venus. He was right in his supposition. The King with great caution, pretending that he looked elsewhere, directed his eyes to the beautiful Countess Stein. Then as though alarmed by her loveliness, he turned his eyes back to the stage. Some time elapsed and the King looked again at her. Augustus III's head still turned towards the stage, but his half-closed eyes gazed on that shining star.

As he looked round the King's eyes met Frau BrÜhl's, whose white finger lay against her little nose as if she were threatening him.

At that moment the King began to clap his Hands applauding the singer, and everybody followed his example. A keen observer would have seen how Faustina frowned at the King; how Frau BrÜhl looked at him impatiently, how Moszynski eyed her husband, and how BrÜhl smiled maliciously.

At last the grand finale resounded with the power of all the voices; the opera was ended. The ladies rose and with them the beautiful Countess Stein, the star of that evening; her graceful figure appeared then in all its splendour. The King dared not look again in her direction.

The court, after supper, retired before midnight. BrÜhl having received the King's orders went home; Sulkowski remained. Frosch and Horch slept in the corners. Augustus III donned a robe de chambre and smoked a pipe in his own apartment, for the smell of tobacco was forbidden in the rooms which he shared in common with the Queen. All those who smoked had separate rooms for the purpose; the ladies, feeling an aversion to the fumes, would not suffer smoking in theirs.

'I don't know' Sulkowski said, 'whether your Majesty deigned to look at Adelaida Stein, but I venture to insist that she is unusually beautiful. If our lord the King, Augustus the Strong, of blessed memory, were alive, I am sure he would admire her extremely.'

The King turned, looked at Sulkowski, but said not a word. Sulkowski laughed, took the King's hand and kissed it.

'I am your Majesty's old servant,' continued he, 'and I admire my lord's virtue. Your Majesty lives like a model nobleman, although kings have some privileges. During the performance to-day I noticed with what admiration the women looked towards your Majesty. Adelaida Stein told my wife that she never saw a better-looking man than your Majesty.'

He became silent. The King played with his china pipe and did not look at him, pretending that he heard not the tempter.

'Faustina sang like a nightingale,' said the King, changing the drift of the conversation.

'But Faustina looks well only on the stage. If I am not mistaken she is nearly forty and Italian women grow old quickly; Adelaida Stein is lovely.'

Augustus III, instead of answering, shrugged his shoulders.

'May it be permitted me to express my admiration? Your Majesty might be a saint, and yet not a happy man. The court is not a monastery.'

Augustus III listened, looking at the ceiling.

'Would your Majesty permit my wife to present her relation at court?' asked Sulkowski not abashed at the King's silence.

'Ask the Queen,' impatiently said the King.

'Adelaida Stein is an orphan: her only relation is my wife. We should like to do something for her future. If she were to win your Majesty's favour, here in the court, she might find a husband, and I know that she would like to stay here.'

Again he was silent, waiting for a word in reply. The King's reticence led him into an error: he thought he must be more explicit. Therefore he continued:

'If your Majesty should care for Adelaida Stein, nobody would guess your fancy.'

He looked at the King, whose face grew pale, his hands trembled and his eyes fell. Sulkowski became frightened and ceased speaking. Augustus III rose.

'Sulkowski,' he said in a suppressed voice. 'I do not wish to be angry with you--but you forget yourself.'

He paced up and down, his face flushed; evidently he was struggling with himself, trying to prevent his anger from bursting forth.

Never had his favourite seen him so angry with him. He was alarmed and kneeling on one knee put out his hand for the King's hand. Augustus III hesitated, but at length he gave it to him.

'Not a word more; everything is forgotten. Stein must leave Dresden at once.'

Thus saying, he turned away.

'To-morrow,' the King said after a moment of silence, 'send hounds and huntsmen to Hubertsburg. I have not hunted for a long time. BrÜhl and you shall come with me--the Queen also. I wish to hunt for three days. First day reindeer, the second par force, the third woodcock.'

Sulkowski bowed.

'I shall give orders at once.'

'Yes, have everything ready--we start in the morning.'

And having dismissed Sulkowski with a nod of his head, Augustus directed his steps towards the Queen's apartment. The minister followed him, and silently asked for the King's hand. Augustus III seemed to have already forgotten all that had happened, gave it willingly, and smiled as carelessly and cordially as usual.

The next and the following days they hunted in Hubertsburg and the forests by which it was surrounded. The King was in a good humour, which was the case every time the hunt was successful. BrÜhl and Sulkowski accompanied him. The first day the Queen mentioned that she had heard from Padre Guarini, who loved Sulkowski, that the Count would like to make a military excursion on the Rhine and into Hungary. It was attributed to his desire to get military experience in order to be better able to serve Saxony. The King listened to his consort and shook his head.

'He is already a good general,' he said, 'I cannot get along without him.'

The Queen did not insist. The third day they returned to Dresden and the same day the King ordered arrangements to be made for target practice in the courtyard of the castle. His usual companions tried their skill against his, but BrÜhl, although he shot well, took great care not to shoot better than the King.

Having rested for one day, the King went to hunt in Klappendorf. The following day he hunted reindeer in Grossenhayn, then in Stanchitz, and passed the night in Moritzburg.

Then he returned to Dresden, for Faustina was going to sing. The ladies occupied the same places; Augustus III looked at Faustina alone. Only when he perceived General Bandissin turning towards him, did he look round.

Countess Sulkowski occupied her box by herself. The King breathed more freely. He made some remark to the General and when the singing began, turning his eyes towards the stage, he glanced at Frau BrÜhl, who, sad and thoughtful and more beautiful than ever, was looking with contempt as if the whole world was a matter of indifference to her.