“Désirée Artôt, a daughter of the celebrated horn-player Artôt, and a niece of the still more renowned violinist, had been trained by Pauline Viardot-Garcia. Her voice was powerful, and adapted to express intense dramatic pathos, but unfortunately it had no reserve force, and began to deteriorate comparatively early, so that six or seven years after the time of which I am speaking it had completely lost its charm. Besides its dramatic quality, her voice was suitable for florid vocalisation, and her lower notes were so good that she could take many mezzo-soprano parts; consequently her repertory was almost unlimited.... It is not too much to say that in the whole world of music, in the entire range of lyrical emotion, there was not a single idea, or a single form, of which this admirable artist could not give a poetical interpretation. The timbre of her voice was more like the oboe than the flute, and was penetrated by such indescribable beauty, warmth, and passion, that everyone who heard it was fascinated and carried away. I have said that Désirée Artôt was not good-looking. At the same time, without recourse to artificial aids, her charm was so great that she won all hearts and turned all heads, as though she had been the loveliest of women. The delicate texture and pallor of her skin, the plastic grace of her movements, the beauty of her neck and arms, were not her only weapons; under the irregularity of her features lay some wonderful charm of attraction, and of all the many ‘Gretchens’ I have seen in my day, Artôt was by far the most ideal, the most fascinating. “This was chiefly due to her talent as an actress. I have never seen anyone so perfectly at home on the stage as she was. From the first entrance, to the last cry of triumph or despair, the illusion was perfect. Not a single movement betrayed intention or pre-consideration. She was equally herself in a tragic, comic, or comedy part.” _To Anatol Tchaikovsky._ “_October_ 21_st_ (_November_ 2_nd_). “I am very busy writing choruses and recitatives to Auber’s _Domino Noir_, which is to be given for Artôt’s benefit. Merelli will pay me for the work. I have become very friendly with Artôt, and am glad to know something of her remarkable character. I have never met a kinder, a better, or a cleverer woman. “Anton Rubinstein has been here. He played divinely, and created an indescribable sensation. He has not altered, and is as nice as ever. “My orchestral fantasia _Fatum_ is finished.” _To Modeste Tchaikovsky._ (_November._) “Oh, Moding, I long to pour my impressions into your artistic soul. If only you knew what a singer and actress Artôt is!! I have never experienced such powerful artistic impressions as just recently. How delighted you would be with the grace of her movements and poses!” _To Modeste Tchaikovsky._