discover no difference of quality from the
bottom to the summit of the scale. In the great extent between A below
the lines and D in alt, she executes every description of passage,
whether consisting of notes 'in linked sweetness long drawn out,' or
of the most rapid flights and fioriture, with equal facility and
perfection. Her lowest notes come out as clear and ringing as the
highest, and her highest are as soft and sweet as the lowest. Her tones
are never muffled or indistinct, nor do they ever offend the ear by
the slightest tinge of shrillness; mellow roundness distinguishes every
sound she utters. As she never strains her voice, it never seems to be
loud; and hence some one who busied himself in anticipatory depreciation
said that it would be found to fail in power, a mistake of which
everybody was convinced who observed how it filled the ear, and how
distinctly every inflection was heard through the fullest harmony of the
orchestra. The same clearness was observable in her pianissimo. When, in
lier beautiful closes, she prolonged a tone, attenuated it by degrees,
and falling gently upon the final note, the sound, though as ethereal
as the sighing of a breeze, reached, like Mrs. Siddons's whisper in Lady
Macbeth, every part of the immense theatre. Much of the effect of this
unrivaled voice is derived from the physical beauty of its sound, but
still more from the exquisite skill and taste with which it is used, and
the intelligence and sensibility of which it is the organ. Mlle. Lind's
execution is that of a complete musician. Every passage is as highly
finished, as perfect in tone, tune, and articulation, as if it proceeded
from the violin of a Paganini or a Sivori, with the additional charm
which lies in the human _voice_ divine. Her embellishments show
the richest fancy and boundless facility, but they show still more
remarkably a well-regulated judgment and taste."

Mlle. Lind could never have been a great actress, and risen into that
stormy world of dramatic power, where the passion and imagination of
Pasta, Schroeder-Devrient, Malibran, Viardot, or even Grisi, wrought
such effects, but, within the sphere of her temperament, she was easy,
natural, and original. One of her eulogists remarked: "Following her own
bland conceptions, she rises to regions whence, like Schiller's maid,
she descends to refresh the heart and soul of her audience with gifts
beautiful and wondrous"; but, as she never attempted the delinea