it was second-rate music, which was little thought of by genuine musicians. It was different with Felix Mendelssohn, that halcyon master, who, on account of his lighter, purer, happier soul, quickly acquired admiration, and was equally quickly forgotten: as the beautiful EPISODE of German music. But with regard to Robert Schumann, who took things seriously, and has been taken seriously from the first — he was the last that founded a school, — do we not now regard it as a satisfaction, a relief, a deliverance, that this very Romanticism of Schumann’s has been surmounted?

Schumann, fleeing into the “Saxon Switzerland” of his soul, with a half Werther-like, half Jean-Paul-like nature (assuredly not like Beethoven! assuredly not like Byron!) — his MANFRED music is a mistake and a