year. Giuglini was also Vincenzo in Gounod's Mireille, in a fight scene of which, owing to insufficient rehearsal, he received a resounding blow on the head from Santley, playing Ourrias. At St Petersburg Late in 1864 Giuglini accepted an engagement for a season in St Petersburg, but arrived to find that he was not required for Faust as Enrico Tamberlik had contrived to take that role. His debut as Faust there was, therefore, delayed, and when he was finally asked, Patti (the Marguerite) was rumoured to be indisposed, to be replaced by a débutante. Giuglini was unnerved, and became indisposed himself. When at the end of his contract a sum was deducted for that evening because he had taken a walk and left his house on that night, he threw his payment into a stove in fury, and thereafter his reason began to desert him. He returned to London in spring 1865, where Mapleson awaited him for a Dublin tour. All his valuable clothes and fur coats had been stolen in the journey back from Russia, and all the precious stones removed from his property and jewellery. Illness and death At home in Welbeck Street, Giuglini sat eating oysters and refused to put on his trousers. Mapleson placed him in the care of a doctor at Chiswick, and in a later visit, with Tietjens, the tenor seemed rational, and sang 'Spirito gentil' and M'appari' for them divinely. His condition deteriorated, and having made a sea voyage to Italy that autumn for his health, he died at Pesaro. Character According to Mapleson, Giuglini had a childlike and sometimes mischievous nature. He was often prey to unscrupulous young women who used their charms to play on his sensitive nature to bring him under their influence. In this he was protected by his manager Mme Puzzi ('Mamma Puzzi' as he called her), who was frequently summoned by letter or telegraph to rescue him at a moment's notice, and never failed to do so. Giuglini was very fond of flying kites, which he often did in the Brompton Road at the risk of being crushed to death by passing omnibuses, and became known to the drivers who indulgently avoided him. Lumley noted one of Giuglini's obsessions in 1857: "At this period the principal passion of the great tenor was for making and letting off fireworks! It was one of those passions which almost amounted