was recognized a bounteous wealth of gifts to which none of her rivals could aspire.  Her resources appeared to be without limit; she knew every language to which music is sung, every style in which music can be written with equal fluency.  All schools, whether ancient or modern, severe or florid, sacred or profane, severely composed or gayly fantastic, were easily within her grasp.  Like Malibran, she was a profoundly scientific musician, and possessed creative genius.  Several volumes of songs attest her inventive skill in composition, and the instances of her musical improvisation on the stage are alike curious and interesting.  Such unique and lavish qualities as these placed the younger daughter of Garcia apart from all others, even as the other daughter had achieved a peculiarly original place in her time.  Like Lablache, in his basso roles, Mme. Viardot, by her genius completely revolutionized, both in dramatic conception and musical rendering, many parts which had almost become stage traditions in passing through the hands of a series of fine artists.  But the fresher insight of a vital originating imagination breathed a more robust and subtile life into old forms, and the models thus set appear to be imperishable.  It has been more than hinted by friends of the composer Meyerbeer, that, when his life is read between the lines, it will be known that he owes a great debt to Pauline Viardot for suggestions and criticism in one of his greatest operas, as it is well known that he does to the tenor, Adolphe Nourrit, for some of the finest features of “Robert le Diable” and “Les Huguenots.”

In October, 1842, Mme. Viardot made her reappearance on the French stage at the Theatre Italien as Arsace in “Semiramide,” supported by Mme. Grisi and Tamburini.  There was at this time such a trio of singers as is rarely found at any one theatre, Pauline Viardot, Giulia Grisi, and Fanny Persiani, each one possessing voice and talent of the highest character in her own peculiar sphere.  Not the smallest share of the honors gathered by these artists came to Mme. Viardot who had for intelligent and thoughtful connoisseurs a charm more subtile and binding than that exercised by any of her rivals.  At the close of the Paris season she proceeded to Vienna, where her artistic gifts were highly appreciated, and thence to Berlin, where Meyerbeer was then engaged in composing his “Prophete.”  The dramatic conception of Fides, it may be said in passing, was expressly designed for Pauline Viardot by the composer, who had the most exalted esteem for her genius, both as a musician and tragedienne.  She was always a great favorite in Germany, and Berlin and Vienna vied with each other in their admiration of this gifted woman.  In 1844 she stirred the greatest enthusiasm by singing at Vienna with Ilonconi, a singer afterward frequently associated with her.