"In like manner, in her shake, her scales, her legato and staccato passages, she evoked astonishment and admiration no less from competent judges than from the general public; and the more so since it was evident that, in the exercise of her wise discrimination, the songstress made use of these ornaments only in so far as they were in perfect harmony with the inner meaning of the music.

"The incredibly rapid development of her voice and technique caused many people to question the value of the instruction she had originally received before going to Garcia. Such doubts, however, must be dismissed as unjustifiable. The true reason why Jenny Lind's singing before she went abroad could not be said to flow in the track which leads to perfection is undoubtedly to be found in the fact that she was a so-called theatereler—a pupil educated at the expense of the directors of the theatre itself—and, as such, was unable to escape from the necessity of appearing in public before her preparatory education was completed,—a proceeding no less disastrous to the pupil than contrary to the good sense of the teacher."

Such, then, was the transformation that had come over her rendering of Norma. No wonder that Stockholm went wild with enthusiasm, and that from that time on her career was one long crescendo of success.

Jenny Lind had the priceless power of taking pains, added to which hers was a glorious voice, properly developed under her master's tender care. The combination of these gifts, mental and physical, enabled her to overcome every obstacle which crossed her path, and to reach the lofty position which she retained up to the time of her retirement from public life. Her career was the pride of her fellow-countrymen, and the name by which she became known, the Swedish Nightingale, acted as a constant reminder of her nationality.

The Swedish people paid their tribute to Garcia by making him a correspondent of the University of Stockholm, while the Swedish king created him "Chevalier de l'Ordre de Mérite (Gustavus Vasa)."

But the thing which the maestro prized more than all else was the undying gratitude of his pupil.

CHAPTER XI.
SOME FAMOUS PUPILS.
(1842-1848.)

THE remaining six years which Señor Garcia spent in Paris before migrating to London were important for the musical world.

We have seen how at this point in his career he was able to claim as pupils a trio of world-renowned singers—Maria Malibran, Pauline Viardot, and Jenny Lind. During the period between 1842 and 1848 this number was greatly increased, for there passed through his hands a series of artists whose successes were a tribute to their master's method and powers of teaching, and to his right to be acknowledged by all the world as the foremost maestro di canto of his age. Henriette Nissen, Catherine Hayes, Mathilde Marchesi, Johanna Wagner, Julius Stockhausen, Barbot, Bussine, and Battaille,—these are the principal ones.

Even if his career had ended in '48, instead of being continued in England with no less triumphant results, he could well have claimed to have brought out a greater number of famous artists than any other teacher: only certainly he never would have claimed it, for he was ever the most modest of men, the most reticent on the subject of his own powers.