very hearing."

Something of this impression moved the general mind of connoisseurs on
her first dramatic appearance. Her style, execution, voice, expression,
and manner so irresistibly reminded her fellow-performers of the
lamented Malibran, that tears rolled down their cheeks, yet there
was something radically different withal peculiar to the singer. This
singular resemblance led to a curious incident afterward in Paris. A
young lady was taking a music-lesson from Lablache, who had lodgings in
the same house with Mlle. Garcia. The basso was explaining the manner in
which Malibran gave the air they were practicing. Just then a voice was
heard in the adjoining room singing the cavatina--the voice of Mdlle.
Garcia. The young girl was struck with a fit of superstitious terror as
if she had seen a phantom, and fainted away on her seat.

Yet in person there was but a slight resemblance between the two
sisters. Pauline had a tall, slender figure in her youth, and her
physiognomy, Jewish in its cast, though noble and expressive, was so far
from being handsome that when at rest the features were almost harsh in
their irregularity. But, as in the case of many plain women, emotion and
sensibility would quickly transfigure her face into a marvelous beauty
and fascination, far beyond the loveliness of line and tint. Her
forehead was broad and intellectual, the hair jet-black, the complexion
pale, the large, black eyes ardent and full of fire. Her carriage was
singularly majestic and easy, and a conscious nobility gave her bearing
a loftiness which impressed all beholders.

Her singing and acting in _Desdemona_ made a marked sensation. Though
her powers were still immature, she flooded the house with a stream of
clear, sweet, rich melody, with the apparent ease of a bird. Undismayed