Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1

To all thtiie should be added a host of servants and retainers; and masters of various kinds, coming to teach music, languages, even dancing, for the children were taught to dance even if they never (or very seldom) were allowed to go to dances. Many of these teachers were foreign patriots: those were the days when one French 6migrg of rank dressed the hair of fashionable New York, while another made its salads, the two going their rounds before every festivity.

Julia's musical education began early. Her first teacher was a French artist, so irritable that the terrified child could remember little that he taught her. He was succeeded in her tenth year by Mr. Boocock, a pupil of Cramer, to whom she always felt that she owed a great deal. Not only did he train her fingers so carefully that after eighty years they still retained their flexibility, but he also trained and developed her inborn taste for all that was best in music.

As she grew toward girlhood, the good master found that her voice promised to be a remarkable one, and recommended to her father Signor Cardini, formerly an intimate of the Garcia family, and thoroughly versed in the famous Garcia method. Under his care Julia's voice developed into a pure, clear mezzo-soprano, of uncommon range and exquisite quality. She felt all through her life the benefit of those early lessons.

When she was eighty years old she attended a meeting of the National Peace Society at Park Street Church, Boston. The church was packed with people. When her turn came to speak, the kindly chairman said:--