"Yet, in spite of this, Jenny Lind, when resuming her sphere of action at the Stockholm theatre, proved not only to have acquired a soprano voice of great sonority and compass, capable of adapting itself with ease to every shade of expression, but to have gained also a technical command over it great enough to be regarded as unique in the history of the world. Her _messa di voce_ stood alone--unrivalled by any other singer. "In like manner, in her shake, her scales, her legato and staccato passages, she evoked astonishment and admiration no less from competent judges than from the general public; and the more so since it was evident that, in the exercise of her wise discrimination, the songstress made use of these ornaments only in so far as they were in perfect harmony with the inner meaning of the music. "The incredibly rapid development of her voice and technique caused many people to question the value of the instruction she had originally received before going to Garcia. Such doubts, however, must be dismissed as unjustifiable. The true reason why Jenny Lind's singing before she went abroad could not be said to flow in the track which leads to perfection is undoubtedly to be found in the fact that she was a so-called _theatereler_--a pupil educated at the expense of the directors of the theatre itself--and, as such, was unable to escape from the necessity of appearing in public before her preparatory education was completed,--a proceeding no less disastrous to the pupil than contrary to the good sense of the teacher." Such, then, was the transformation that had come over her rendering of Norma. No wonder that Stockholm went wild with enthusiasm, and that from that time on her career was one long crescendo of success. Jenny Lind had the priceless power of taking pains, added to which hers was a glorious voice, properly developed under her master's tender care. The combination of these gifts, mental and physical, enabled her to overcome every obstacle which crossed her path, and to reach the lofty position which she retained up to the time of her retirement from public life. Her career was the pride of her fellow-countrymen, and the name by which she became known, the Swedish Nightingale, acted as a constant reminder of her nationality. The Swedish people paid their tribute to Garcia by making him a correspondent of the University of Stockholm, while the Swedish king created him "Chevalier de l'Ordre de Mérite (Gustavus Vasa)." But the thing which the maestro prized more than all else was the undying gratitude of his pupil. CHAPTER XI. SOME FAMOUS PUPILS. (1842-1848.) The remaining six years which Señor Garcia spent in Paris before migrating to London were important for the musical world.