The ninety-three concerts under Barnum’s management had yielded a total of $712,161.34 in a period of nine months. Of this amount Jenny Lind received from Barnum, besides all her expenses, $208,675.09 as her share of the proceeds, including her guaranteed stipend of $1,000 per concert. She refunded to Barnum $32,000 to break the contract after the ninety-three concerts, so that her net profit from the tour totaled $176,675.09. Barnum’s gross receipts, after paying Jenny Lind her share, were $535,486.25. He never printed what proportion of this was net profit, but his expenses probably reached $350,000. The Jenny Lind tour, besides the financial profit to the two principals and the beneficial effect on Barnum’s prestige and Jenny Lind’s popularity, had an effect of great importance on the history of music in the United States. No star in her ascendancy had ventured into the barbarous American woods in search of gold, but the success of Jenny Lind, which was so much greater financially and emotionally than any of her European triumphs, opened the eyes of other musical celebrities to possibilities in an American tour; it also awakened American impresarios to the opportunities in this country. Grisi and Mario, who were Europe’s favorites before the Jenny Lind vogue, made plans to visit the United States, and Johanna Wagner at one time entertained that intention. Henriette Sontag visited New York when Jenny Lind was preparing to leave. She enjoyed some success here, due in part to her beauty and charming manner, as well as to her voice, but she did not create a Jenny Lind furor. At the time when Mme. Sontag visited the United States, Von Bülow called her in compliment to her beauty, “a forty-eight-year-old soubrette.” She had many admirers in Europe, and some of these were personal. Lord Clanwilliam, British Ambassador at Berlin, was so persistent in his unwelcome attentions to Mme. Sontag that he was called “Lord Montag following Sontag.” After Barnum retired, Le Grand Smith became an impresario in his own name and brought Mme. Alboni to this country in 1852. Neither of these stars enjoyed the success of Jenny Lind, for, aside from any difference in the qualities of their voices, it was well known that young men in Europe drank champagne from Henriette Sontag’s slipper, and Alboni’s lovers were almost as many as Jenny Lind’s charities: church has always been more popular in America than burlesque.