Turned to the service of God, Jane thought that it would be difficult for anyone to deny a divine hand at work, but the little gardener nun seemed blissfully unaware of the exceptional quality of her voice. With such an example, Jane confined her role, at first, to accompanying her lessons on the pianoforte rather than singing. However, it became quickly apparent that their roles were reversed when it came to teaching the strokes of glamour intended as embellishments for the music. Most, but not all, composers hired a Sténocharmeur to create visual elements of glamour to accompany their music, in much the way they might work with a writer for the libretto. It was never very detailed work, as it was confined to quick strokes between musical notes and in the rests. The line of notation ran above the musical staff, with indications about the type of fold to draw from the ether or the proper stitch to create a given effect. Jane now sat at the piano with a cluster of eleven girls, ranging in age from twelve to sixteen.
