We have seen how at this point in his career he was able to claim as pupils a trio of world-renowned singers--Maria Malibran, Pauline Viardot, and Jenny Lind. During the period between 1842 and 1848 this number was greatly increased, for there passed through his hands a series of artists whose successes were a tribute to their master's method and powers of teaching, and to his right to be acknowledged by all the world as the foremost _maestro di canto_ of his age. Henriette Nissen, Catherine Hayes, Mathilde Marchesi, Johanna Wagner, Julius Stockhausen, Barbot, Bussine, and Battaille,--these are the principal ones. Even if his career had ended in '48, instead of being continued in England with no less triumphant results, he could well have claimed to have brought out a greater number of famous artists than any other teacher: only certainly he never _would_ have claimed it, for he was ever the most modest of men, the most reticent on the subject of his own powers. And now to say something concerning the career of the pupils whose names have been set down above. Henriette Nissen (afterwards Mme. Siegfried Salomon) had commenced her vocal studies with Garcia in 1839, at the same time learning the piano under Chopin, and had made immense progress in her singing during the two years preceding the arrival of Jenny Lind. Being a favourite with the maestro, and a Swede by birth, it is not surprising that Garcia hastened to introduce her to Mdlle. Lind, and that she became her most intimate friend at this period. For the following details I am again indebted to Canon Holland:-- "The two would frequently sing together, and before long a feeling of generous rivalry sprang up between them, which must have been of infinite advantage to both. Mdlle. Lind makes frequent mention of her fellow-pupil in letters written during this period. 'I go to see her pretty often, and we sing together. She has a beautiful voice. In future we are going to have music together at Herr Blumm's.'" These meetings at his house became quite an institution. Herr Blumm was a Swedish gentleman of kindliest disposition and infinite _bonhomie_, who held the appointment of "Chancelier" to the Swedish legation in the Rue d'Anjou; and he bestowed on the two young friends innumerable acts of courtesy and kindness during their study with Garcia. "I am going to Herr Blumm's," she wrote again, "where Mdlle. Nissen is waiting for us, with an old relation of hers, and we four are going somewhere into the country for the day. She is a very sweet girl. The divine song draws us to each other." A charming episode is recounted as having happened at the Christmas of 1841. When the festival drew near, Jenny Lind's heart was torn by yearnings for home.