was long the most efficient actress at Mitchell's old Olympic in the
palmy days of burlesque.

It was at Niblo's that Thalberg played. Many of the virtuosos had
been--like De Meyer--so extravagant in their action, and so evidently
what we now call "sensational," that there was great curiosity to see
the master whose name had been familiar since 1830, and famous since
1835, when he first played in Paris. The comparative estimate of the
two men, Liszt and Thalberg, was that the former was a player of
eccentric genius, the latter of consummate talent: a judgment which is
very apt to spring from a superficial theory that eccentricity is the
signet of genius. The long hair, the wild aspect of Paganini, did much
to confirm this feeling.

At the concerts of Thalberg there were some preliminary performances,
and then a gentleman with side whiskers and no mustache,
unostentatiously dressed, entered upon the platform. His manner was
grave and tranquil, and he bowed respectfully as he seated himself at
the instrument. Immediately, without a flourish or grimace, steadily
and calmly watching the audience, he touched the piano, and it began
to sing. There was no pounding, no muscular contortion. Nothing but
his hands seemed to be engaged, and apparently without effort they
exhausted the whole force of the instrument. It was in every respect
except its great effectiveness the reverse of De Meyer's playing. The
effect, indeed, was astonishing. When the player arose, as quietly and
gravely as he had seated himself, there was a tumult of applause, to
which he bowed and tranquilly withdrew.

The characteristic of his style is well known. It was a series of
harmonious combinations of all the resources of the key-board, through