His daughter Fanny showed a passion for music almost as an infant, and was carefully trained by her father. At eleven years of age she took part in an opera as prima donna at a little theatre which Tacchinardi had built near his country-place just out of Florence. She had a voice of immense compass, to which sweetness and flexibility were added by study and practice. She married Joseph Persiani, an operatic composer, at the age of twelve, for her father did not wish her to go on the stage, and thought that an early marriage would change her tastes. For several years she lived in seclusion at her husband's house; but at last an opportunity offered to sing in opera, and she was unable to resist it. Madame Persiani belonged to the same style as Sontag, not only in character of voice but in all her sympathies and affinities. Moscheles, in his diary, speaks of the incredible technical difficulties which she overcame, and compares her performance with that of a violinist, for she could execute the most florid, rapid, and difficult music with such ease as to excite the wonder of her hearers. Aside from her wonderful executive art in singing, Madame Persiani will be remembered as having contributed, perhaps, more than any other singer to making the music of Donizetti popular. Her death occurred in 1867. The name of Jenny Lind will be remembered when Malibran, Grisi, and many of the greatest singers have sunk into oblivion, because of her good works. Besides being one of the few perfect singers of the century, her life was characterized by deep religious principles and innumerable charitable works, of which not the least was the use of the fortune of over $100,000, which she made during her American tour, in founding art scholarships and other charities in Sweden, her native land. Jenny Lind was born in 1820 at Stockholm, and was the daughter of poor but educated parents, her father being a teacher of languages and her mother a schoolmistress. From her cradle she showed the greatest delight in music, and at the age of three she could sing with accuracy any song that she had heard. Her musical education began at the age of nine; but, notwithstanding the brilliant career predicted for her by her friends, her life for many years was a history of patient hard work and crushing disappointments. When she was presented by her singing teacher to Count Puecke, the director of the court theatre at Stockholm, with a view to getting her admitted to the school of music connected with it, she made no impression on him, and it was only by great persuasion that he could be induced to accept her. In this theatre she appeared in child's parts while scarcely in her teens, but when she was about thirteen years old her voice suddenly failed. She continued patiently with her other musical studies, and in four or five years her voice returned as suddenly as it had left her.