"I have had to study phrasing and style and expression, with sostenuto, crescendo, diminuendo, and various other artistic effects, but the drudgery of exercises was spared me, thanks to my fairy godmother." She has always retained her habits of study, and even during her first brilliant season in Paris she found time to take lessons from Madame La Grange and also from the celebrated teacher Delle Sédié. Later, however, at Nice, she studied more consecutively with Maestro Gelli, who recognized the unusual order of her talents and wrote several beautiful _morceaux_ expressly for her. Her beauty and accomplishments were the open sesame to the exclusive circles of the villa society at Nice, and among the many distinguished people whom she delighted with her rare gifts was the late lamented Duke of Albany. Like most of the royal family of England, he was an accomplished critic and an ardent lover of music. He was enthusiastic in his praise of Miss von Schaumburg's singing, and when she again met him, a year or two later, at a court-ball at Buckingham Palace, his greeting proved that he had not forgotten the impression it had made upon him. His first words were, "And how is the beautiful voice?" Before she left Philadelphia her histrionic talents had perhaps made her more widely known than any other of her many accomplishments. During the war for the Union, when the stage was the means of raising many dollars for the benefit of the wounded and suffering soldiers, she was foremost among the bright and spirited society women who devoted their talents to the cause. Her dramatic success was due neither to her beauty nor to her personal charm, though her expressive features, her voice, and her perfect grace and ease were undoubtedly powerful adjuncts. Her triumphs were legitimate, and were the result of careful study, artistic finish, and unusual histrionic ability. That she possessed, in an extraordinary degree, the power of getting out of herself and into her parts was evidenced by the tribute contained in the criticism of some friends who went to see her in "Masks and Faces." They had gone, they said, solely to see Miss Schaumburg, whom, however, they soon forgot, their interest becoming absorbed in the brilliant, fascinating, impulsive Peg. Yet Emilie Schaumburg was a very young girl when she stepped upon the amateur stage of the Seventeenth-Street Drawing-Room, and had never had a lesson in declamation nor a suggestion from any one to help her in the study of her parts. To be able to forget one's identity, and to make one's audience forget it, is, after all, the acme of high art in acting, or, rather, it is the touch of genius which is above art, since it cannot be taught.