parents would not permit her as yet to become formally engaged.
It was in 1821 that the young people made each other's acquaintance. In that year the Grand Duke Nicholas of Russia and his wife visited Berlin, and court festivities of the most elaborate description were given in their honor. The entertainment provided for one evening in particular was a representation, by means of tableaux and pantomime, of scenes from Moore's Oriental poem, Lalla Rookh, the characters being assumed by the ladies and gentlemen of the court. The exhibition was characterized by artistically grouped figures, beautiful faces, and a lavish display of costly draperies, gorgeous jewels, and rare articles of Eastern manufacture. When the performance was at last ended, Lalla Rookh (represented by the Grand Duchess herself) exclaimed with a sigh:
"Is it really over now? And are those who come after us to have no remembrance of this happy evening?"
These words reaching the ear of the King, he resolved to have the scenes painted in an album, the performers all sitting for their portraits, and the work when complete to be presented to the Grand Duchess. This commission was awarded to Wilhelm Hensel, who, before the book was sent away to St. Petersburg, exhibited it for a few days in his studio, where it was viewed by many visitors, among whom came Fanny Mendelssohn and her parents. The exquisite manner in which these drawings were executed brought the young artist at once into favorable notice, and he soon received from the Prussian government a scholarship, which enabled him to study in Rome, accompanied by an order for a copy of Raphael's Transfiguration, to be of the size of the original. Before setting out he wished to become engaged to Fanny; but this, as we have seen, her parents would not permit. Although they were not opposed to his suit, they could
