In the Prussian capital the family was again united, and became the centre of a social circle embracing many persons connected with dramatic art and literature. Devrient, Dawison and Jenny Lind were among the visitors whose conversation was greedily listened to by the little girl while supposed to be immersed in her lessons or her plays. Under such influences it would have been strange if even a less active brain had not been fired with aspirations, which took the form of an irresistible impulse when, at thirteen, Wilhelmine was allowed for the first time to visit the theatre and witness the acting of Dawison in Hamlet and other parts. Henceforth all opposition had to give way, and in her seventeenth year she made her _début_ as Juliet at the ducal theatre of Coburg. Two qualities, we are told, distinguished her acting: a strong conception worked out in the minutest details, and an intensity of passion which knew no restraint, and at its culminating point overpowered even hostile criticism. Subsequently careful training under Edward Devrient and Madame Glossbrenner enabled her to bring her emotions under better control, repressing all tendency to extravagance; and, greeted with the assurance that she was destined to become the German Rachel, she entered upon her career with a round of performances at the principal theatres of Germany, including those of Frankfort, Hamburg and Berlin. These triumphs were followed by the acceptance of a permanent engagement at Mannheim, which, however, had hardly been concluded when it gave place to one of a different kind, followed by her marriage and sudden relinquishment of the vocation embraced with such ardor and pursued for a short period with such brilliant promise. Dawison is said to have remarked that by her retirement the German stage had lost its last genuine tragic actress.