Next to painting, the two sister arts, poetry and music, were specially cultivated in the home of the artist. She had a clear perception of the true and elevated in poetry, and kept pace, even to old age, with the literary productions of the new era. Her own poetic effusions were confined to the eye of her more intimate friends; but there were some poems upon which Brentano himself placed high value. Her library was a choice one, and her knowledge of languages kept her acquainted with the best productions of the modern cultivated nations. Her aesthetic and scientific acquirements became her well, inasmuch as the cultivation of the mind and of the heart with her kept even pace. Miss Linder applied herself to music in full earnest. She not only practised several instruments--the aeolodicon and harp were always seen in her drawing-room--but she had herself instructed by Ett in thorough-bass and the history of music. She followed his instructions in harmony with practical exercises. In musical history it was the religious department again which most appealed to her: her researches went back to the earliest times, the development of the true church style, and for the unfolding of this subject she had found in Ett the right man. Moreover, she stood in friendly exchange of views with Proske of Regensburg, a profound student of ancient church music. Sometimes musical gatherings were held, to which Ett brought singing-boys from the choir of St. Michael's Church: ancient religious cantatas, the compositions of Orlando di Lasso, Handel, Abbé Vogler's hymns, and the like, were performed. Conrad Eberhard, an enthusiastic admirer of music and of the master Ett, who with Schlotthauer regularly attended the historical lectures on music, in his ninetieth year spoke with loving recollection of these ennobling evenings at Miss Linder's.