Louise Angelique Bertin, born in 1805, was one of those impatient creatures who are eager to read books before learning the alphabet. In taking up painting, she wished to start in at once with canvas and brush, regardless of preliminary training. In her musical studies the same tendency showed itself, and immediately on beginning her work in composition with Fetis, she commenced writing operatic airs and scenes. Apparently she was able to estimate her own talents justly, for success crowned her efforts. Her first opera, "Guy Mannering," was performed in private, but "Le Loup Garou" made a marked public success. Her "Faust," a later work, met with a like favourable reception, although "Masaniello" and "William Tell" had already taught the Paris public to be exacting. "Esmeralda" was another successful work, but "Notre Dame," written to a libretto of Victor Hugo's own arrangement, proved a failure. Mlle. Bertin won further musical fame by her string quartettes and trios, as well as her choruses and songs. She was also a poetess of some renown, and her collection of verse won a prize from the French Academy. Pauline Viardot-Garcia was one of a remarkable musical family. Her father, Manuel Garcia, was a singer and teacher of note, and, like her elder sister, Mme. Malibran, she received the benefit of his tuition. One of her earliest memories of his singing was connected with an unexpected appearance in America, when a band of Mexican robbers, not content with relieving them of the proceeds of their tour in this hemisphere, added insult to injury by insisting upon hearing the great tenor sing. Pauline became renowned in opera, and, after the early death of her sister, held the foremost place on the European stage. She was able to impersonate and create roles of the most diverse nature, ranging from the lightest of Italian heroines to the most dramatic characters of Meyerbeer. After a career of fame and honour, she left the stage and devoted herself to teaching, and it is in that period of her life that her compositions appear. Her house in Baden-Baden was the centre of attraction for a circle including not only musicians, but artists, poets, and nobility of the highest rank. There she produced her operettas, "Le Dernier Sorcier," "L'Ogre," and "Trop de Femme." At first arranged for private performance, they succeeded so well that they were given to the public. Of her other works, twelve romances for piano, twelve Russian melodies, and six pieces for violin and piano are the most important. She numbered many famous names among her pupils, and her singing exercises are of unusual value.