dependence with which the family was endowed enabled Mme. Cruwell
to take Sophie, at the age of fourteen, to Paris that she might obtain
finishing lessons. Permarini and Bordogni were the masters selected, and
the latter, who perceived the latent greatness of his pupil, spared no
efforts, nor did he spare Sophie, for he was a somewhat stern, austere
teacher. For two years he would permit her to sing nothing but vocal
scales, and composed for her the most difficult _solfeggi_. Mme.
Cruwell then returned to Paris, and insisted that her daughter had made
sufficient progress in the study of French and music, and might very
well return home. Bordogni indignantly replied that it would be criminal
to rob the musical world of such a treasure as the Fraulein Cruwell
would prove after a few years of study. The mother yielded, saying: "If
my daughter devotes herself to the stage and fully embraces an artistic
career, we may endeavor to submit to further sacrifices; but, if
merely destined to bring up a family, she has learned quite enough of
_solfeggi_; her little fortune will all be swallowed up by her music
lessons." It was thus settled that Sophie should become a singer, and,
in accordance with Bordogni's advice, she proceeded to Milan, Italy, to
complete her musical studies.

But a dreadful discovery threw her into despair when she arrived at her
new quarters--she had lost her voice. Not a sound could be forced from
her throat. Sophie was in despair, for this was, indeed, annihilation to
her hopes, and there seemed nothing in fate for her but to settle
down to the average life of the German housewife, "to suckle fools and
chronicle small beer," when, on the eve of departure for Bielefeld,
Signor Lamperti, the famous teacher, announced himself. The experienced
maestro advised them to wait, reasoning that the loss of voice was
rather the result of fatigue and nervousness than of any more radical
defect. It was true, for a few days only had passed when Sophie's voice
returned again in all its power. Lamperti devoted himself assiduously
to preparing the young German singer for her _debut_, and at the end of
1847 she was enabled to appear at La Fenice, under the Italianized name
of Cruvelli, in the part of _Dona Sol_ in "Ernani." This was followed
by a performance of _Norma_, and in both she made a strong impression
of great powers, which only needed experience to shine with brilliant
luster. The fact that her instructor permitted h