warmth but no passion. She needs some cultivation yet, for her shake is
not good. Why did we not hear Mali-bran? who was also so great an actor
that she would have been famous without a voice. I could not for a moment
suffer my idea of her to be compared with Castellan. Malibran must have
been so lovely from her sensibility and passion, so commanding from the
majesty of her voice, that the art and not the woman must have found newer
worshippers with every new audience.

I hope to hear Cinto Damoreau this week. You have heard "The Magic Flute"
overture, I think, so fairy-like and graceful, full of tender shadows and
heart-rejoicing sunlight and aerial shapes that fade and glint like stars.
And the magnificent "Jubilee" concluded with "God save the King."

Evening. My aunt sent for me to hear Timm play the "Pathetique." His
playing is wonderfully graceful, his touch more delicate than either of
the R.'s. But he lacks genius; and time and practice will give Fred. R.
all that Timm has. He is very enthusiastic. I spoke to him of "Egmont;" he
seemed delighted, said he hadn't heard it for 12 years, but instantly sat
down and played portions of it. He promised to play the adagio of the
"Pathetique" on the organ next Sunday. We had but a few moments, for his
time is all devoted to teaching, or I should have kept him till midnight.
He is so simple and natural about the matter that it is very pleasant to
be with him. If you mention anything to him, he instantly runs to the
piano and plays something from it. Imagine him the other evening standing
up straddling the stool, a roll of music under each arm, gloves in hand,
and playing a movement from one of the symphonies!

I have been to see Cranch; found his wife at home, whom I have not seen
since January. They are pleasantly situated, though a good way off. He has
a room in the house where he paints. I saw two of his landscapes, views