In 1875 Mlle. Titiens visited America, on a concert and operatic tour which embraced the principal cities of the country. She was well received, but failed, through the very conditions and peculiarities of her genius, to make that marked impression on the public mind which had sometimes, perhaps, been achieved by artists of more shallow and meretricious graces. The voice of Mlle. Titiens had begun to show the friction of years, and though her wonderful skill as a vocalist covered up such defects in large measure, it was very evident that the greatest of recent German singers had passed the zenith of her fascination as a vocalist. But the grand style, the consummate breadth and skill in phrasing, that gradation of effects by which the intention of a composer is fully manifested, the truth and nobility of declamation, that repose and dignity of action by which dramatic purpose reaches its goal without a taint of violence or extravagance--in a word, all those great qualities where the artist separates from the mere vocalist were so finely manifested as to gain the deepest admiration of the _cognoscenti_, and justify in the American mind the great reputation associated with the name of Mlle. Titiens. On her return to Europe, she continued to sing with unimpaired favor in opera, concert, and oratorio, until she was seized with the fatal illness which carried her off in 1879. Her death was the cause of deep regret among musical circles in England and on the Continent, for she left no successor in the line of her greatness. So far as any survey of the field could justify a judgment, liable at any time to be upset by the sudden apparition of genius hitherto hampered by unfavorable conditions, Mlle. Titiens was the last of that race of grand dramatic singers made splendid by such beacon lights as Pasta, Malibran, Schroeder-Devrient, Grisi, and Viardot-Garcia. THE END. End of Project Gutenberg's Great Singers, Second Series, by George T. Ferris