The acting of Adelaide Ristori made a profound impression upon Tchaikovsky. His greatest admiration, however, was for the singer Lagroua. She was not a beautiful woman, but, in the part of Norma, she displayed such tragic pathos, such plastic art, that she was worthy to be compared with the greatest actresses. In 1860 Tchaikovsky’s youngest sister and constant companion, Alexandra Ilinichna, was married to Leo Vassilievich Davidov, and went to live in the Government of Kiev. During the following year several other members of the family went out into the world, so that the cheerful family life came to an end, and a shade of melancholy crept over the remainder of the household. At this period Tchaikovsky’s attitude to his father and his aunts was slightly egotistical and contemptuous. This was only a passing phase. He was not actually wanting in affection for his own people, but was simply bored in their society. At this age he could not endure a quiet life at home. Under such auspices dawned the year 1861, destined to inaugurate a new epoch in the life of Tchaikovsky. PART II I At this time there were two music masters at the School of Jurisprudence. Karel, who taught the piano, until he was succeeded by Bekker, and Lomakin, the professor of singing. It is not known whether Tchaikovsky ever took lessons with Karel. With Bekker he did learn for a time, but the lessons made no impression upon his memory. The singing lessons he received from Lomakin amounted to little more than choral practices. Lomakin was a very competent man, who brought the school choir to a pitch of perfection; but he had not time to train individual voices, consequently he exercised no direct influence on Tchaikovsky, although he observed his beautiful soprano voice and his great talent for music. Besides these masters, Tchaikovsky took piano lessons at home from Rudolf Kündinger. Kündinger had come to Russia at eighteen, and delighted the public of St. Petersburg by his brilliant virtuosity. Having attracted many pupils, he settled in Petersburg. In 1855 the elder Tchaikovsky engaged him to teach his son. Kündinger afterwards regretted that he kept no record of these lessons. The boy struck him as talented, but nothing made him suspect the germ of a great composer. One thing which impressed Kündinger was his remarkable power of improvisation. Another was his fine feeling for harmony. Kündinger would often show his pupil his own compositions, and accept his suggestions as regards harmony, finding them invariably to the point, although at that time Tchaikovsky knew nothing of the theory of music.