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.

Perhaps at no period of her life, though,