Mdlle. Lind's course of study under Garcia lasted in all ten months, by which time she had learned all that it was possible for any master to teach her. After this period she had improved so wonderfully under his magical tuition that, as he himself picturesquely expressed it, she was able to look down on her former efforts as from a mountain to a plain. The result for which she had so ardently longed, so patiently waited, so perseveringly laboured, was attained at last. Her voice, no longer suffering from the effects of the cruel fatigue and the inordinate amount of over-exertion which had so lately endangered, not merely its wellbeing, but its very existence, had now far more than recovered its pristine vigour,--it had acquired a rich depth of tone, a sympathetic sweetness, a bird-like charm in the silvery clearness of its upper register, which at once impressed the listener with the feeling that he had never before heard anything in the least degree resembling it. Few human organs are perfect. It is quite possible that other voices may have possessed qualities which this did not--for voices of exceptional beauty are nearly always characterised by an individuality of expression which forms by no means the least potent of their attractions. But the listener never stopped to analyse the qualities of Mdlle. Lind's voice, the marked individuality of which set analysis at defiance. By turns full, sympathetic, tender, sad or brilliant, it adapted itself so perfectly to the artistic conception of the song it was interpreting, that singer, voice, and song were one. "With such rare power at command, she was able, without effort, to give expression to every phase of the conception which she had originally formed by the exercise of innate genius alone. Her acting had grown up with her from infancy, and formed part of her inmost being. She had found no one in Paris capable of teaching her anything that could improve that, though she thought it necessary to take lessons in deportment. The rest she had studied for herself, though she had naturally gained experience by observation of others. "She had acted to herself the part of Norma, which had been the last _rôle_ she had undertaken in Stockholm before setting out for Paris, and calmly passed judgment upon her own performance. That she was satisfied with it one cannot doubt, for she had studied the difficult character of her heroine to such good purpose that she had reconciled all its apparent incongruities, and elevated it into a consistent whole, dramatic and musical, breathing poetry and romance from beginning to end, yet as true to nature as she was herself, and no longer fettered by the fatal technical weakness which had so long stood between her ideal and its perfect realisation. There was no weakness now. The artist was complete."