of her sister's, an _aria bravura_ by De Bériot, and the "Cadence du
Diable," imitated from "Tartini's Dream," which she accompanied with
marvelous skill and delicacy. She shortly appeared again, and she
was supported by Rubini, Lablache, and Ivanhoff. The Parisian critics
recognized the precision, boldness, and brilliancy of her musical style
in the most unstinted expressions of praise. But England was the country
selected by her for the theatrical _début_ toward which her ambition
burned--England, which dearly loved the name of Garcia, so resplendent
in the art-career of Mme. Malibran.

Her appearance in the London world was under peculiar conditions, which,
while they would enhance the greatness of success, would be almost
certainly fatal to anything short of the highest order of ability. The
meteoric luster of Mali-bran's dazzling career was still fresh in the
eyes of the public. The Italian stage was filled by Mme. Grisi, who,
in personal beauty and voice, was held nearly matchless, and had
an established hold on the public favor. Another great singer, Mme.
Persiani, reigned through the incomparable finish of her vocalization,
and the musical world of London was full of distinguished artists,
whose names have stood firm as landmarks in the art. The new Garcia,
who dashed so boldly into the lists, was a young, untried, inexperienced
girl, who had never yet appeared in opera. One can fancy the excitement
and curiosity when Pauline stepped before the footlights of the King's
Theatre, May 9, 1839, as _Desdemona_ in "Otello," which had been the
vehicle of Malibran's first introduction to the English public. The
reminiscence of an eminent critic, who was present, will be interesting.
"Nothing stranger, more incomplete in its completeness, more unspeakably
indicating a new and masterful artist can be recorded than that first
appearance. She looked older than her years; her frame (then a mere
reed) quivered this way and that; her character dress seemed to puzzle