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AUTHOR: 
 
 MENDELSSOHN- 
 BARTHOLDY. KARL 
 
 TITLE : 
 
 GOETHE UND 
 MENDELSSOHN 
 
 PLACE: 
 
 LONDON 
 
 DA TE : 
 
 1874 
 
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 llendelssofin-Bnrtholdy, Karl, 183a-1897. 
 
 Gcxii e ai I Mendelssohn. (1S21-1831.) Translated, with 
 additions from the German f Dr. Karl Mendelssohn-Har- 
 tholdy, 1} M. E. von Glehn. U'ith portraits and facsimile, 
 and letters by Mendelssohn of Liter date. London, Macmillan 
 
 and CO.. 1>^;^^, ^ AB74 . 2d. ed . 
 
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 Mendelssohn-Bartholdy, Karl, 1838-1897. 
 and Ilendelssohn. 1874. (Card 2) 
 
 Copy in Music. 1874. 
 
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 GOETHE 
 
 AND 
 
 MENDELSSOHN 
 
 (1821— 1831.) 
 
 TRANSLATED, WITH ADDITIONS, FROM THK (JERMAN 
 
 OF 
 
 DR. KARL MENDELSSOHN-BARTHOLDY 
 
 BV 
 
 M. E. VON GLEHN. 
 
 WITH PORTRAITS AND FACSIMILE, 
 AND LETTERS BY MENDELSSOHN OF LATER DATE. 
 
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 9 
 
 
 TO 
 
 MRS. VICTOR BENECKE, 
 
 ELDEST DAUGHTER OF 
 
 FELIX MENDELSSOHN BARTHOLDY, 
 
 AND HIS NEAREST RELATIVE IN THIS COUNTRY, 
 
 THIS LITTLE VOLUME, 
 IN MEMORY OF HER FATHER, 
 
 AND 
 
 IN GRATITUDE FOR ALL THE HAPPINESS 
 
 I ENJOY THROUGH HIM. 
 
 • -• • 
 
 • . . • • • • 
 • • • • • • • 
 
 • « « » • 
 
 • • • • • . 
 
 » • I • . • * •• 1 I 
 
 • • 
 
 » -* • 
 
 » * 
 
 * 
 
 • • • 
 
 • • • 
 
 • • • 
 
 « k * 
 
 • • < 
 
 » • • 
 
 • ♦ • 
 
 • • « » • 
 
 • • • 
 
 ■• • • . 
 
 • • • 
 
 « * • • * » 
 
AUTHOR'S PREFACE 
 
 TO THE 
 
 ENGLISH EDITION. 
 
 The following pages were written in the midst 
 of the great events of the year 1871. 
 
 It is strange to see that even at so absorb- 
 ing a time the higher life of the nation 
 was especially directed to artistic productions. 
 
 At the meeting of the '* Historical Science 
 Society," held at Freiburg in Breisgau on the 
 8th of March last, to celebrate the establish- 
 ment of the German Empire, I delivered a 
 lecture on Goethe and Mendelssohn. This 
 
 b2 
 
Vlll 
 
 AUTHOR'S PREFACE. 
 
 lecture I shortly afterwards repeated at Con- 
 stance, and by general desire I now publish It 
 in an extended form. 
 
 It is an episode of Weimar's golden days 
 which we see before us— old age and fame 
 hand in hand with youth in its aspiring 
 efforts; the aged Poet fondling the curls of 
 the little musician and calling to him in 
 playful and endearing accents "to make a little 
 noise for him, and awaken the winged spirits 
 that have so long lain slumbering." 
 
 The boy matures into the young man, and 
 can now produce, as well as receive. He has 
 to tell Goethe about Hengstenberg, and Spon- 
 tini. and Heeel's " ^Esthetics : " he teaches 
 the Poet to understand Beethoven; brings 
 before him on the piano, in chronological order, 
 all the great composers, and shows how they 
 
 AUTHOR'S PREFACE. 
 
 IX 
 
 have furthered the art. The conversation next 
 touches on the poetic, the scientific, and the 
 moral world : on the profound and ancient 
 problem of human life, — which the author of 
 "Faust" thus explains in speaking to Ecker- 
 mann* of the following passage in the fifth 
 Act of his poem : — 
 
 "Wer immer strebend sich bemüht, 
 Den können wir erlösen " — 
 
 " The key to Faust's deliverance is contained 
 in these lines ; in Faust himself there is a 
 spirit of energy which grows ever nobler and 
 purer to the end ; whilst everlasting love sus- 
 tains him from on high. This is in perfect 
 harmony with our religious conceptions, for it 
 is not by our own efforts alone that we are 
 saved, but by the help of divine grace.'* 
 
 * Conversation of June 6th, 1831. 
 
H 
 
 II 
 
 AUTHOR'S PREFACE. 
 
 Too soon did it pass away, that artist-life 
 which in its early dawn had so delighted 
 Goethe. What the Poet said of the restless 
 and self-consuming energy of his friend Schiller, 
 became prophetic for Mendelssohn. Of the 
 composer of the "Midsummer Night's Dream" 
 and " Elijah," one might also say : " There 
 was something terrific in his progress ; he went 
 forward unceasingly till his thirty-eighth year, 
 — and then came the end ! " 
 
 But Mendelssohn's life, short as it was, may 
 be considered rich and happy, if true 
 happiness lies in making others happy, and in 
 obtaining the recognition which is due to un- 
 tiring zeal and activity. Where else could his 
 energy have met with such enthusiastic acknow- 
 ledgment, or his music with so sympathetic 
 a reception, as in the country which, since 
 
 « 
 
 » \ 
 
 :) 
 
 AUTHOR'S PREFACE. 
 
 XI 
 
 Handel's time, has always shown how true 
 artists should be honoured ? How happy and 
 how completely at his ease he felt in England, 
 how deeply sensible of the homage paid to 
 him there as a man and as an artist, he 
 never failed to acknowledge. 
 
 The publication of the accompanying letters 
 from my father to Mr. Macfarren and Sir 
 W. Sterndale Bennett— English artists of con- 
 genial mind with his owm — as well as of the 
 account of his visit to Buckingham Palace, will 
 serve to recall to the memory of many the 
 master whom Prince Albert, after the first 
 performance of the " Elijah," addressed as " the 
 noble artist who, though encompassed by the 
 Baal-worship of false art, has by his genius 
 and industry succeeded, like a second Elijah, 
 in preserving the faithful worship of true art. 
 
XU 
 
 AUTHOR'S PREFACE. 
 
 and out of the confusion of senseless and 
 trivial music has once more attuned our ears 
 to the pure music of imitative and regulated 
 harmony; — the great master who, in the 
 tranquil current of his thoughts, reveals to us 
 the still small voice no less than the mighty- 
 strife of the elements." 
 
 Karl Mendelssohn Bartholdy. 
 
 Freiburg im Breisgau, 
 March 3, 1872. 
 
 I1 
 
 i 
 
 TRANSLATOR'S PREFACE. 
 
 I NEED hardly express the great pleasure which 
 it gives me to be the means of introducing 
 this little volume to English readers. Any 
 new facts in the life of the great musician of 
 our times must be heartily welcomed by all 
 who knew and loved him when he was among 
 us, or who, like myself, have since learned to 
 know and love him through his music and 
 letters. Especially is this the case when the 
 facts are not only new but highly characteristic, 
 and given for the most part in his own 
 fresh and lively style. 
 
T 
 
 XIV 
 
 TRANSLATOR'S PREFACE. 
 
 TRANSLATOR'S PREFACE. 
 
 XY 
 
 But beside the new details about Mendels- 
 sohn, the following pages have yet another 
 interest, introducing us as they do to the 
 greatest of German poets under a new aspect, — 
 that of his interest in and love for music. No 
 doubt it was Mendelssohn's charming per- 
 sonality and winning ways which first attracted 
 Goethe, but it is evident that he loved music 
 for its own sake also, and that in the wide 
 embrace of his universal mind it had its true 
 place, with all the other arts and sciences 
 which he loved and studied with so much 
 ardour and method. 
 
 The shortcomings in my version will, I trust, 
 be attributed, not to any want of desire to do 
 justice to the subject, but to the inherent diffi- 
 culties of the task of translation — difficulties 
 which those only who have attempted it can 
 
 fH 
 
 enter into. In historical or scientific works, 
 where matter, and not manner, is the chief point 
 to be kept in sight, the task is comparatively 
 easy; but in the case of letters or conver- 
 sations, where the aim is a faithful representa- 
 tion of individual style, it is well-nigh hopeless ; 
 the phrases must often sound odd and un- 
 natural, each language having its own peculiar 
 expressions, colloquialisms, and idioms, which 
 frequently have no equivalents in another lan- 
 guage ; and this because in one nation, thoughts 
 and feelings will constantly be given utterance 
 to, which in another are totally unnatural 
 and perhaps never expressed. Thus, not only 
 the words, but also the thoughts and ideas of 
 the original are often stumbling-blocks in 
 one*s way. 
 
 I gladly take this opportunity of expressing 
 
XVI 
 
 TRANSLATOR'S PREFACE. 
 
 ■I I 
 
 k 
 
 my thanks to Mrs. Victor Benecke and Mr. 
 George Grove for their great kindness in 
 revising the proofs of the translation, and for 
 their advice and assistance throughout my work. 
 Also to Madame Preusser, Sir William Stern- 
 dale Bennett, Mr. Macfarren, Mr. Novello and 
 others, for their permission to insert the letters 
 addressed to them, or in their possession, and 
 
 included in the Appendix. 
 
 M. E. VON Glehn. 
 
 Sydenham, May 24//^, 1872. 
 
 The Engraving in the frontispiece represents Felix 
 Mendelssohn in his twelfth year. It is from a chalk 
 drawing by William Hensel, from the original portrait in 
 oils painted by Begas in the year 1821. 
 
 The sketch at page 16 — now first made public — is a 
 fac-simile of a pencil drawing taken in 1820 or 1821, 
 and now in the possession of the Hensel family. The 
 signature at the foot of this sketch is that to the 
 "Waldteufel" letter (page 30). 
 
 Goethe's signature on the cover is from the original 
 of the lines given on page 34. The fragment of the 
 B minor Quartett is imitated from the autograph ; and 
 the signature below, with the flourish, is slightly re- 
 duced from an autograph in one of the earliest volumes 
 of Mendelssohn's manuscript boyish compositions. 
 
 li 
 
CONTENTS. 
 
 xiz 
 
 CONTENTS. 
 
 Zelter. 2 ; Felix's compositions at twelve years old, 4 ; Proposed 
 visit to Weimar, 4 ; His parents' anxiety, 5 ; Arrival at Weimar, 
 7 ; Sees Goethe, 8 ; Dinner — music— whist— Fanny Mendels- 
 sohn's songs, 9; Goethe unbends to Felix, 10, 11 ; Felix im- 
 provises, 12 ; Minuet in Don Juan and Overture to Figaro, 14; 
 Plays from Autograph of Mozart, 15 ; and of Beethoven, 16 ; 
 Conversation about Felix, 19 ; Goethe's care of him, 21 ; Romps, 
 bouts-rimes, 23 ; The boy's description of Goethe, 24 ; Adele 
 Schopenhauer— Zelter scolded, 25 ; Goethe's song for Fanny, 27 ; 
 Felix's judgment — Szymanowska — Riemer, 28 ; Return to 
 Berlin, 29 ; Letter from Felix— the Waldteufel, 30 ; the Jacob' s- 
 ladder— Adele's silhouettes, 33 ; more verses by Goethe, 34 ; 
 and more silhouettes, 35 ; Sketch by Goethe, 35 ; Second visit 
 to Weimar, 36 ; A mother's delight, 37 ; Saul and David, 38. 
 
 Felbc fifteen— his fourth opera, 39 ; Zelter's account, 40 ; Double- 
 Concerto, 42 ; Journey to Paris — Cherubini, 42 ; Felix's judgment 
 on Cherubini, 44 ; and on music in Paris, 45 ; Urhahn — Kalk- 
 brenner— Herz,46; The Opera— Aubers Ldocadie, 48 ; Piccolo, 
 49; Ignorance of Parisians— Bach and Monsigny, 50; Baillot 
 and Felix's B minor Quartett, 5 1 ; Allegro feroce on Paris, 52 ; 
 Kyrie, 53; Weimar again, 54; Dedication of Quartett to 
 Goethe, 54 ; Goethe's acknowledgment, 55 ; Felix translates the 
 "Andria," 56; Foohsh critics, 57; Berlin University— Hegel, 
 59 ; Goethe's affection for Felix, 61. 
 
 Felix starts for Italy, 62 ; arrives at Weimar, 63 ; rouses Goethe, 
 64 ; Pleasant life, 66 ; Goethe takes " music lessons," 67 ; Felix 
 not allowed to go, 68 ; Conversation in the park — Goethe's 
 
 f 
 
 I 
 
 banter, 69; Stendhal — Walter Scott, 70; Schiller, 71; the 
 Grand Duke, 73; the year 1775, 74; Ostade's "Prayer"— 
 Farewell devotions, 76 ; the Parting, ']'] ; Ottilie's letter, 78. 
 Munich — Felix's letter, 79 ; Music parties at Munich — South and 
 North Germany, 81 ; Rome— ridiculous artists, 83 ; Goethe's 
 comments, 84 ; Walpurgis Night, 87 ; Felix's return through 
 Switzerland, 87 ; Life in the mountains, 88 ; Storms, 89 ; 
 Engelberg — Bach, and Swiss monks, 93 ; Goethe's birthday, 
 93 ; Droll theatre at Lucerne, 95 ; Schiller's powder of pro- 
 duction, 96 ; Goethe's poem on Tell, 97 ; Goethe and Schiller, 
 98 ; Munich — Paris — Goethe's death, loi. 
 
 APPENDIX. 
 Letters of Mendelssohn. 
 
 I. I. To Herr Gustav Preusser, June 29, 1842. Plans for Swiss 
 journey, 105 ; Family greetings, 106. 
 
 2. To his Mother, July 19, 1842. Life and friends at Frank- 
 
 fort, 107 ; London society, 109 ; Buckingham Palace, 
 no; Prince Albert's organ— a royal gift, in ; the 
 Queen's singing, n2; Mendelssohn improvises, 114; 
 Scotch symphony— the parrot, n4 ; Crossing to Ostend, 
 IIS- 
 
 3. To , April 2, 1843. Recollections of Paris, ll^ ; Herr 
 
 Dürrner, n8. 
 
 4. To W. Sterndale Bennett, April 3, 1839, Handel's scores, 
 n9 ; Inquiries as to " Samson," 120 ; Alternative pieces 
 in "Handel," 121. 
 
 5. To G. A. Macfarren, April 2, 1843. Chevy Chase overture, 
 122. 
 
 6. To the same, Nov. 20, 1843. Chevy Chase, 125. 
 
 7. To the same, June 6, 1844. Mendelssohn's conscientious- 
 ness, 126. 
 
 IL 
 
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 jIi^ 
 
 XX 
 
 CONTENTS. 
 
 8. To the same, Dec. 8, 1844. Performance of " Anti^jone" at 
 
 Covent Garden, 128; Chorus-Recitatives, 130; acting 
 of Chorus, 131. 
 
 " Israel in Egypt." 
 
 9. To the Handel Society, March i, 1845. Subscription of 
 
 King of Saxony, 134; and King of Prussia, 135 ; Proofs, 
 
 135- 
 
 10. To W. Sterndale Bennett, May 26, 1845. Questions as to 
 
 passages in the autograph of " Israel in Eg)^pt," 136. 
 
 11. To G. A. Macfarren, Sept. 28, 1845. Gender of " haut- 
 
 boys," 138; No more alterations, 139; Correction of 
 proofs, 139. 
 
 12. To the same, October 1845. Vexatious mistakes of 
 
 engravers— Organs, 140; Slurs, 141; Suggestions of 
 Council, 143. 
 
 13. To the same, Dec. 31, 1845. More suggestions of Council, 
 
 145. 
 
 14. To the same, April 3, 1846. His own subscription, 146. 
 
 15. To the same, Dec. 28, 1845. Final corrections of" Israel," 
 
 147 ; Loyalty to Handel, 148 ; No Trombones, 149. 
 
 '-■m 
 
 I 
 
 w 
 
 • 4' 
 
 III. 16. To the Hofrath Friedrich Rochlitz, Feb. 25, 1835. Thanks 
 for proposed Oratorio-book, 150 ; Scheme of " St. Paul," 
 151. 
 
 17. To Mr. J. Alfred Novello, April 7, 1838. Prize-fighting in 
 
 music, 152 ; Psalm xlii., 153 ; Cologne Festival, 154. 
 
 18. To Herr Anton Zuccalmaglio, Dec. 4, 1839. Thanks for an 
 
 Opera-book, 154. 
 
 19. To Herr Adolf Böttger, Dec. 10, 1841. Legend of 
 
 ** Genoveva," 157. 
 
 20. To Professor Wolfgang R. Griepenkerl, Nov. 18, 1844. 
 
 Opera-book, 158; Shakespeare's "Tempest," 159. 
 
 r!»".1 
 
 ,4 ä 
 
GOETHE 
 
 AND 
 
 
 MENDELSSOHN. 
 
 Most young people need some outlet for their 
 inborn impulses of hero-worship and affection. 
 It is fortunate for them when their enthusiasm^ 
 is inspired by a true and noble ideal ; when 
 their minds can gain force and elevation from 
 the examples of great men, rising like constel- 
 lations above the horizon of their own time. 
 
 The opportunities which Felix Mendelssohn 
 enjoyed as a boy, of seeing and knowing 
 Goethe in his own house, gave an impulse 
 to his whole life. Goethe's living presence 
 strengthened and fostered that love for perfec- 
 tion, and that dislike for everything mean and 
 morbid, which always distinguished him.. 
 
 B 
 
GOETHE AND MENDELSSOHN. 
 
 [1821 
 
 13TH year] 
 
 GOETHE AND ZELTER. 
 
 The meeting was brought about by Zelter, 
 an original in every sense of the word. What- 
 ever Zelter did, he did by himself alone. We 
 know from his autobiography-^ that though 
 forced by his father to work at the mason's 
 trade, yet, both as apprentice and journeyman, 
 he pursued music unceasingly till he had tho- 
 roughly acquired the art, never allowing himself 
 to be discouraged by the depreciatory remarks 
 of professional musicians, such as Kirnberger, 
 who told him to his face that "while an or- 
 dinary workman is always respectable, there is 
 nothing more pitiable than an ordinary artist, 
 such as you will be.'' 
 
 Like most autocrats, Zelter had a very posi- 
 tive and rough manner of his own, and his 
 plain speaking and rudeness were proverbial 
 among the artists of Berlin. There was some- 
 
 * Carl Friedrich Zelter, eine Lebenschreibung. Nach autobio- 
 graphischen Manuscripten bearbeitet von Dr. Wilhelm Rintel 
 Berlin, 1861. 
 
 / ä 
 
 thing rigid, stubborn, and rough-hewn about 
 him, a native force which nothing but the 
 wonderfully harmonious personality of Goethe 
 could have softened. From the moment of his 
 reading "Werther" he was filled with a deep 
 sympathy and attraction for the man whose 
 knowledge of human nature had enabled him 
 to give such a work to the world ; and after - 
 he had become personally acquainted with him 
 there was no one who clung with truer devotion 
 to Goethe. The correspondence between the 
 two is a lasting memorial of the union of 
 characteristic force and true friendship. 
 
 Zelter speaks of the artistic efforts of the 
 Berliners, describes the progress of the " Sing- 
 Akademie," and at an early period in the corre- 
 spondence draws the attention of the great 
 art-patron at Weimar to Felix Mendelssohn, 
 the most gifted of his pupils. 
 
 In a letter of the 26th October, 182 1, he 
 thus announces to his friend his proposed visit 
 
 B 2 
 
I L 
 
 GOETHE AND MENDELSSOHN, 
 
 [1821 
 
 13TH year] 
 
 HIS PARENTS' ADVICE. 
 
 to Weimar : '* I want to show your face to my 
 Doris, and my best pupil, before I leave the 
 world, though I certainly mean to hold out in 
 it as long as possible. The boy is good and 
 pretty, lively and obedient." 
 
 Felix was then only twelve years old, but 
 for that age he had already displayed extra- 
 ordinary musical productivity. He had written 
 two operas, and nearly finished a third ; had 
 composed for the Sing-Akademie a Psalm in four 
 and five parts with a grand double fugue ; as 
 well as six symphonies, a quartett for piano 
 and strings, a cantata, six fugues for pianoforte, 
 and a number of studies, sonatas, and songs. 
 
 "Just fancy," says his mother, writing to her 
 sister-in-law, Henriette Mendelssohn, in Paris, 
 ''that the little wretch is to have the good 
 luck of going to Weimar with Zelter for a short 
 time. He wants to show him to Goethe, and 
 is to take him there next week after they have 
 been to the exhibition of Schadow's picture of 
 
 -V. 
 ''V, 
 
 > 
 
 ■A 
 
 Luther at Wittenberg. You can imagine what 
 it costs me to part from the dear child, even 
 for a few weeks. But I consider it such an 
 advantage for him to be introduced to Goethe, 
 to live under the same roof with him, and enjoy 
 the blessing of so great a man. I am also 
 glad of this little journey as a change for 
 him ; for his impulsiveness sometimes makes him 
 work harder than he ought to at his age." 
 
 It may easily be understood how much the 
 boy was exhorted to make the most of the rare 
 opportunity thus afforded him. '' Keep your 
 wits about you," writes his father. '' Every time 
 I write to you, my dear boy, I shall remind you 
 to keep a strict watch over yourself; to sit 
 properiy and behave nicely, especially at dinner ; 
 to speak distinctly and suitably, and try as 
 much as possible to express yourself to the 
 point. I know what a good fellow you 
 are, and therefore think it hardly necessary 
 to remind you to be good and modest, and 
 
•1 
 
 % 
 
 GOETHE AND MENDELSSOHN. 
 
 [1821 
 
 13TH year] 
 
 ARRIVAL AT WEIMAR. 
 
 obedient to your fatherly friend and guide, 
 and not to forget often to think affectionately 
 of us." 
 
 His mother writes: ''If I could but be a 
 little mouse so as to watch my dear Felix while 
 he's away, and see how he comports himself 
 as an independent youth. Mind you snap up 
 every word that Goethe says : I want to know 
 all about him.'* 
 
 Nor could his elder sister, Fanny, resist adding 
 her exhortations : '' When you are with Goethe, 
 I advise you to open your eyes and ears wide; 
 and after you come home, if you can't repeat 
 every word that fell from his mouth, I will have 
 nothing more to do with you. It's better for 
 us to lose you for a little, that during that 
 time you may lay up the most precious recol- 
 lections for your future life." 
 
 The reports which the young traveller sent 
 home to these anxious monitors exhibit a 
 peculiar mixture of observation with the happy 
 
 ino^enuousness of a child. He describes the 
 beautiful arrangement of Goethe's house ; the 
 pleasant '' Salve " which greeted him on the 
 threshold of the door leading to the chief 
 apartment; the statues on the steps and in the 
 lobby, which suggested Greece, the dreamland 
 of the poet. No doubt the boy's heart beat 
 as he trod the sacred threshold. 
 
 " Now, stop and listen, all of you," he writes 
 on the 6th November. " To-day is Tuesday. 
 On Sunday, the sun of Weimar — Goethe — arrived. 
 In the morning we went to church, and they 
 gave us half of Handel's looth Psalm. (The 
 organ is large, but weak ; the Marien-organ,* small 
 as it is, is much more powerful. This one has 
 50 stops.) 
 
 *' Afterwards I went to the * Elephant,' where I 
 sketched the house of Lucas Cranach. Two 
 hours afterwards Professor Zelter came and said, 
 'Goethe has come, — the old gentleman's come!' 
 
 *The organ of the Marien- Kirche at Beriin. 
 
8 
 
 GOETHE AND MENDELSSOHN. 
 
 [1821 
 
 13TH year] 
 
 WEIMAR. FANNY'S SONGS. 
 
 and in a minute we were down the steps and 
 in Goethe's house. He was in the garden, 
 and was just coming round a corner. Isn t it 
 strange, dear father? that was exactly how 
 you met him. He is very kind, but I don't 
 think any of the pictures are Hke him. 
 
 '' He was looking over his collection of petri- 
 factions, which his son had arranged for him, 
 and kept saying, * Hm, hm ! I am very much 
 pleased.' After that I stayed in the garden 
 with him and Professor Zelter for half an hour. 
 Then came dinner. One would never take him 
 for seventy-three, but for fifty. After dinner 
 Fräulein Ulrike, the sister of Frau von Goethe, 
 asked for a kiss, and I did the same. Every 
 morning I get a kiss from the author of ' Faust ' 
 and ' Werther/ and every afternoon two kisses 
 from my friend and father Goethe. Think of 
 that! (In Leipsic I went several times through 
 Auerbach's curious courtyard, a great passage, 
 like many others in Leipsic, filled with shops 
 
 j 
 
 I 
 
 i. 
 
 and people, and shut in by houses six or 
 
 seven stories high. On the market-place there 
 
 is actually one of nine stories.) 
 
 '' But where am I wandering to ! After dinner 
 
 I played to Goethe for two hours and more, 
 partly Bach fugues, and partly extempore. In the 
 evening they played whist, and Professor Zelter, 
 who played with them at first, said, * Whist 
 means that you are to hold your tongue ! ' What 
 a good saying ! We had supper all together, even 
 Goethe too, though generally he never eats any- 
 thing in the evening. Now, my dear coughing 
 Fanny!* yesterday morning I took your songs to 
 Frau von Goethe, who has a pretty voice. She is 
 going to sing them to the old gentleman. I told 
 him that you had written some, and asked if he 
 would hear them. He said, 'Yes, yes, very 
 willingly.' Frau von Goethe liked them very 
 
 * This probably refers to a supposed habit of Fanny Men- 
 delssohn's, of criticising her brother's compositions by coughing. 
 After telling her of the honour and kindness shown him, he 
 thus jokingly challenges her disapproval. 
 
lO 
 
 GOETHE AND MENDELSSOHN. 
 
 [1821 
 
 much, which is a good omen. He is to hear them 
 to-day or to-morrow. I am so sorry that I shall 
 not see Lipinski again." 
 
 It is easy to see that Felix soon got over 
 the constraint of the first acquaintance, and 
 made himself at home in the house of the man 
 whom others approached with the greatest 
 deference. 
 
 The descriptions which Goethe's contempo- 
 raries give of his appearance — the solemn, slow 
 gait, the powerful features, the lofty brow on 
 which Apollo had set his seal of strength and 
 wisdom, the abundant grey hair, the deep voice 
 and measured speech, all convey an impression 
 of stately dignity. Even Zelter, who usually 
 despised all outward forms, used to appear at 
 Goethe's in the fullest dress ; that is to say, 
 short black silk breeches, silk stockings, and 
 shoes with great silver buckles, a costume lono- 
 out of fashion, and supposed to bear the stamp 
 of peculiar solemnity. Goethe himself ad- 
 
 ) 
 
 V 
 
 13TH year] 
 
 GOETHE'S HEART WON. 
 
 II 
 
 mitted that he reserved a certain indifference 
 of manner for strangers who came to visit 
 him, and it is well known how cold and repel- 
 ling he was to Carl Maria von Weber. But 
 for the "little Berliner'* he laid aside all 
 his ministerial dignity, and stroked and patted 
 his head with such fatherly tenderness, that 
 the boy soon lost all bashfulness, and gave way 
 to his tremendous spirits in all their youthful 
 freshness. It was evident that Goethe felt quite 
 as much personal attraction for the boy as in- 
 terest in his music. At the first party which 
 Goethe gave for the Berliners, he amused him- 
 self with making a trial of Felix's talent before 
 all the company. " My friend Zelter," he said 
 to Rellstab,* '' has brought his little pupil to see 
 me ; we are to have a trial of his musical powers, 
 but he is extraordinarily talented in other w^ays 
 as well. You know the doctrine of tempera- 
 
 * See Rellstab's Aus meinem LebeJi, Berlin, 1861, vol. ii. chapter 
 II. — " Mendelssohn im Goetheschen Haus." 
 
 isa 
 
12 
 
 GOETHE AND MENDELSSOHN. 
 
 [1821 
 
 ments; everyone has all the four in him, only 
 in different proportions. Well, this boy, I should 
 say, possesses the smallest possible modicum 
 of the phlegmatic, and the maximum of the 
 opposite quality." 
 
 The first test to which Goethe put the young 
 artist was to make him improvise on a theme 
 furnished by Zelter. Zelter sat down to the 
 piano, and with his stiff, cramped fingers 
 played a very simple tune in triplets, "Ich 
 träumte einst von Hannchen," as tame and 
 trivial an air as need be. Felix played it through 
 after him, and the next minute went off into 
 the wildest allegro, transforming the simple 
 melody into a passionate figure, which he took 
 now in the bass, now in the upper part, 
 weaving all manner of new and beautiful 
 thoughts into it in the boldest style. Everybody 
 was in astonishment, as the small childish fingers 
 worked away at the great chords, mastering 
 the most difficult combinations, and evolving the 
 
 
 
 I3TH YEAR] 
 
 MASTER AND PUPIL. 
 
 «3 
 
 most surprising contrapuntal passages out of a 
 stream of harmonies, though certainly without 
 paying much regard to the melody. 
 
 It was one of Zelter's principles to be very 
 chary of praise; his aim being to save his 
 pupil from conceit and over-estimation of his 
 own powers -" those cursed enemies of all 
 artistic progress," as he called them. No 
 [j sooner therefore had Felix finished than he 
 said, in a tone of the most complete indifference, 
 like an old pedagogue bent on spoiling the 
 boy's brilliant success, "What hobgoblins and 
 dragons have you been dreaming about, to 
 drive you along in that helter-skelter fashion ! " 
 Goethe saw his object, and taking the head 
 of the little artist in his two hands, and ca- 
 ressing it, said in a playful way: "But you 
 won't get off with that; you must play more 
 before we can quite believe in you." So 
 Felix had to play Bach fugues, of which 
 Goethe was particulariy fond; then he asked 
 
y 
 
 14 
 
 GOETHE AxND MENDELSSOHN. 
 
 [1821 
 
 for a minuet, upon which the boy cried out 
 with flashing eyes, ** Shall I play you the most 
 beautiful one in the whole world ? " and played 
 the Minuet from Don Juan. 
 
 Goethe stood by the piano listening atten- 
 tively, and his eyes sparkling with pleasure. 
 After the Minuet he asked for the Overture, 
 but this the little player refused on the 
 spot, declaring, '' It can't be played as it is 
 written, and it wouldn't be right to alter it 
 in the least." He offered, however, to play 
 the Overture to Figaro instead, and acquitted 
 himself of the task with so much confidence 
 and ease, rendering the orchestral effects so 
 completely, bringing out so many delicate 
 touches in the instrumentation by his manner 
 of playing, and giving each part its due pro- 
 minence, that the effect was overpowering. 
 Goethe became more and more genial and 
 lively, and tried all sorts of tricks and jokes on 
 his little guest. 
 
 13TH year] 
 
 READING AT SIGHT. 
 
 15 
 
 "So far," said he, "you have only played me what 
 you knew before ; now we will see if you can play 
 something that you don't know." He went out, 
 and returned with a number of sheets of written 
 music. "Here," said he, "are some things out 
 of my collection of manuscripts. Now we will put 
 you to the test ; see if you can play that : " and 
 he placed on the desk a sheet of music, in clear 
 but very small writing. It was an autograph of 
 Mozart^s. The boy solved the task as readily as 
 if he had known the piece by heart for years. 
 " That's nothing,'' said Goethe, as everybody was 
 applauding loudly; ''other people can read that 
 too ; but now I am going to give you something 
 in which you will break down. So take care ! " 
 And with this joking threat he got out another 
 manuscript and put it on the desk. This one 
 did indeed look strange. It was difficult to say 
 whether it was music at all, or merely a sheet of 
 ruled paper bespattered with ink and smudged all 
 over. Felix burst out laughing, and exclaimed, 
 
i6 
 
 GOETHE AND MENDELSSOHN. 
 
 [182 1 
 
 h 
 
 " What writing ! how is it possible to read that ? " 
 But suddenly he became serious ; for when 
 Goethe asked, '' Now guess 7a/io wrote that ! " 
 Zelter, looking over the boy*s shoulder as he 
 sat at the piano, called out : '' Why, it's Bee- 
 thoven's writing ; "^^' one can see that a mile off. 
 He always writes as if he used a broomstick, 
 and then wiped his sleeve over the wet ink. I 
 have several manuscripts of his ; they are soon 
 recoe^iized.'' 
 
 Felix kept his eyes reverently fixed on the 
 paper; and his whole face glowed with excite- 
 ment, as out of the chaos of words and notes, 
 scratched out, smudged, interlined, and written 
 over one another, he brought to light some lofty 
 thought of beauty, or some deep noble senti- 
 
 * Goethe had made acquaintance with Beethoven at TöpHtz, 
 but had not learned to appreciate his " uncontrolled person- 
 ality." " His talent excited my astonishment, but unfortunately 
 his personality is entirely uncontrolled ; he is perfectly welcome 
 to think the world detestable, but by that means he does not 
 make it more enjoyable for himself or for others." (Letter to Zelter, 
 Carlsbad, Sept. 2, 181 2.) 
 
r" 
 
 -^n^-t) V 
 
 ^ 
 
 L>- 
 
 FrDin a Sketch laF^n m or about, 1820. 
 
f 
 
 r 
 
 <z^. 
 
 UrlL 
 
 J) 
 
 tr 
 
 orn a Sketch laivon :r; orai-)Oai 'K 
 
t 
 
 I 
 
 13TH year] 
 
 BEETHOVEN'S AUTOGRAPH. 
 
 17 
 
 ment. But Goethe, anxious to make the test a 
 really severe one, left him no time to consider, 
 but kept urging him on : — '' You see, didn't I 
 tell you that you would break down ? Now try, 
 and show what you can do." Felix began to 
 play at once. It was a simple song, but to dis- 
 tinguish the right notes, among those that had 
 been scratched out and half smeared out, required 
 a rare quickness and sharpness of perception. 
 At the first reading Felix had often to point 
 laughingly with his finger to the right note which 
 was to be found in quite another place ; and many 
 a mistake had to be corrected with a hurried 
 " No, that's it." But at the end he said, '' Now I 
 will play it to you," and the second time there was 
 not a single wrong note. *' That's Beethoven," he 
 exclaimed once as he came upon a phrase which 
 seemed to him to bear the stamp of the composer's 
 individuality ; " that is quite Beethoven : I should 
 have known him by that." With this trial Goethe 
 let him off. He concealed his praise under 
 
i8 
 
 GOETHE AND MENDELSSOHN. 
 
 [1821 
 
 pleasant banter — ''Here you broke down, you 
 know, and here you were not safe ; *' but it 
 was easy to see what a keen artistic pleasure he 
 took in the boy*s triumph. 
 
 A day or two after, when the youthful com- 
 poser's first quartett* had been performed, and 
 Felix himself, after playing the pianoforte 
 part, had run off into the garden, Goethe re- 
 marked to the other players : t '' Musical pro- 
 digies, as far as mere technical execution goes, 
 are probably no longer so rare : but what this 
 little man can do in extemporizing and playinc^ 
 at sight, borders on the miraculous, and I could 
 not have believed it possible at so early an ao-e." 
 
 **And yet you heard Mozart in his seventh 
 year at Frankfort ? '' said Zelter. 
 
 " Yes," answered Goethe ; ** at that time I myself 
 
 * In B minor, Op. 3. Afterwards dedicated to Goethe. See 
 page 54. 
 
 t See Prof. Lobe's Reminiscences in the Gartenlaube for 1867, 
 No. I. Also, by the same, Consonanzen und Dissonanzen • 
 Leipsic, 1869. 
 
 13TH year] 
 
 MOZART AND FELIX. 
 
 19 
 
 had only just reached my twelfth year, and was 
 certainly, like all the rest of the world, immensely 
 astonished at his extraordinary execution ; but 
 what your pupil already accomplishes, bears the 
 same relation to the Mozart of that time, that 
 the cultivated talk of a grown-up person does 
 to the prattle of a child." 
 
 The conversation turned upon the young 
 artist's talent for composition. The musicians 
 hoped that as Felix's ideas were more indepen- 
 dent than those of Mozart at the same age, a 
 most brilliant future might be predicted for him. 
 ** May it be so," said Goethe. " But who can 
 tell in what manner a mind may ultimately unfold 
 itself.'^ One sees so much talent, full of the 
 highest promise, take a false direction, and dis- 
 appoint the most sanguine expectations ! How- 
 ever, from this fate our young genius will be 
 preserved by the master whom good fortune 
 has provided him with in Zelter." 
 
 Zelter would not let these words pass unques- 
 
 c 2 
 
90 
 
 GOETHE AND MENDELSSOHN. 
 
 [1821 
 
 13TH year] 
 
 FELIX'S POPULARITY. 
 
 21 
 
 tioned. ** True/' he observed ; ** I feel my re- 
 sponsibility about the boy, and besides his own 
 voluntary work I keep him seriously to the 
 point with severe studies in counterpoint, but it 
 will not be long before he escapes from my 
 discipline. Even now he has learned almost 
 everything that is essential ; and once free, it will 
 then first be seen what his actual bent will be." 
 *' Ygs, and above all,'' remarked Goethe, '' the 
 influence of a teacher is always problematical. 
 That which constitutes the real greatness and in- 
 dividuality of an artist, must be produced out of 
 himself alone. To what teachers did Rafaelle, 
 Michel Angelo, Haydn, Mozart, and all the 
 great masters owe their immortal creations ? " 
 
 With all his fatherly tenderness for the ''httle 
 Berliner" one sees how free from bias the poet 
 was in his judgment of him. He specially 
 inquired of Zelter how Felix was educated at 
 Berlin, and whether, according to Berlin fashion. 
 
 5 
 
 •; 
 1 
 
 Ü 
 
 I 
 
 he was not too much coddled. He did not 
 like to see so much fuss made with the boy by 
 all the company. He forbade him to go over 
 to Jena for a concert which had been got up 
 by the students there ; in fact, he was no great 
 friend to concerts or music in a general way; 
 and once at court, when a pianoforte player was 
 in the middle of a very long sonata, he got 
 up, and, to the horror of all the throng of court 
 ladies and gentlemen, said, '' If it lasts three 
 minutes longer, I confess everything." 
 
 During his stay at Weimar, Felix played 
 much more than usual, often from six to eight 
 hours a day; he played before the Grand 
 Duke and Grand Duchess of Russia, and the 
 Princesses; he even had the '^audacity," as he 
 writes to his mother, to improvise before all 
 the court, and in presence of Hummel. His 
 G minor sonata '" was very much praised by both 
 
 •Begun "i8th June, 1820;" finished " iSth August, 1821." 
 Recently published as Opus 105. — Trans. 
 
22 
 
 GOETHE AND MENDELSSOHN. 
 
 [1821 
 
 13TH year] amusements AT WEIMAR. 
 
 23 
 
 the Grand Duke and Hummel. The chief 
 lady-in-waiting of the Grand Duchess began to 
 make a drawing of him, and the ladies were all 
 so absurd about him that Goethe complained to 
 Zelter, " These women here are doing all they 
 can to spoil the boy for me." But one day, 
 when Felix had been ordered to play at court, 
 he was kept outside in the antechamber of the 
 Belvedere ; the servants would not let him 
 pass : so at last, instead of playing, he went 
 off to Weimar in a pet, and left the court to 
 wait for him. For which he doubtless under- 
 went a paternal lecture from the Herr 
 Geheimrath. 
 
 The little Berliner had in a short time 
 become the favourite of the whole Goethe 
 family. Often when sitting at the piano, 
 weaving into one long fantasia all manner of 
 favourite airs, such as " Treibt der Cham- 
 pagner," Eberwein's songs, Körners '' Treuen 
 Tod," the Triangle Waltz (in that Philhellenic 
 
 V" 
 
 time of course called the '* Ipsilantiwalzer"), 
 he would jump up in the middle to have a 
 good chase round the room with the younger 
 ladies. Once he teased one of the ladies-in- 
 waiting with a bellows, which he had picked 
 up somewhere near the fireplace, and maliciously 
 directed at her curls — and yet no one was ever 
 angry with him. '' If you think I am little 
 Zaches," he writes to his sister Fanny at 
 Berlin, /'then Doris must be Rosabelverde, 
 for it is she that curbs me, ungovernable 
 steed that I am." 
 
 It was impossible at Weimar to escape the 
 atmosphere of poetry, and so round-games of 
 rhymes formed part of the day's amusements ; 
 Felix and the ladies had many a contest over 
 öozäs rimes, often ending with a noisy appeal to 
 the crreat master himself to arbitrate on their 
 doggrel. Goethe entered heartily into the up- 
 roarious spirits of the young people, and was 
 very loth to let the Berliners go ; and when at 
 
24 
 
 GOETHE AND MENDELSSOHN. 
 
 [1821 
 
 the end of a fortnight Zelter began to talk of 
 going home, he seriously reprimanded him. 
 
 ** Every afternoon," says Felix, '* Goethe opens 
 the Streicher piano * with these words, * I have 
 not heard you at all to-day, so you must make 
 a little noise for me/ Then he sits down by 
 me, and when I have finished (generally im- 
 provising) I beg for a kiss, or else I take one. 
 You can have no conception of his goodness 
 and kindness, nor of the quantity of minerals, 
 busts, engravings, statuettes, and large drawings 
 which this Pole-star of poets has in his posses- 
 sion. That he has an imposing figure, I cannot 
 see ; he is really not much bigger than my 
 father. But his look, his language, his name, 
 they are imposing. His voice has an enormous 
 
 *"By the thoughtful care of our long-tried friend, Hofrath 
 Rochlitz, a most carefully tested Streicher piano arrived from 
 Leipsic ; very fortunately ; for soon afterwards Zelter brought 
 us his astonishing and remarkable pupil FeHx Mendelssohn, 
 with whose marvellous talent we should never have become 
 acquainted, without the help of such a 'Mechanik.'" — Tag und 
 yahreshefte. 
 
 \ 
 
 13TH year] 
 
 ZELTER IN DISGRACE.' 
 
 25 
 
 sound in it, and he can shout like ten thousand 
 fighting men. His hair is not yet white, his 
 walk is steady, and his manner of speaking 
 gentle. 
 
 " Zelter wanted to go to Jena on Tuesday, and 
 from there on to Leipsic. On Saturday, Adele 
 Schopenhauer came to us, and, contrary to his 
 custom, Goethe stayed the whole evening. The 
 conversation turned upon our departure, and 
 Adele proposed that we should all go and 
 throw ourselves at Professor Zelters feet and 
 implore for a few days' grace. He was dragged 
 into the room, and then Goethe burst out with 
 his thundering voice, scolded Professor Zelter 
 for wanting to take us away to the old nest, 
 commanded him to be silent, to obey without 
 a word, to leave me here, to go to Jena alone 
 and then come back — in fact he so com- 
 pletely drove him into a corner that he will 
 do everything that Goethe wishes. After this 
 Goethe was assailed by everybody with kisses 
 
»r 
 
 26 
 
 GOETHE AND MENDELSSOHN. 
 
 [1821 
 
 13TH year] 
 
 SONG BY GOETHE. 
 
 27 
 
 on his mouth and hands, and whoever could not 
 reach these, stroked and kissed his shoulders ; 
 if he had not been at home, I think we should 
 have taken him to his house, as the Roman 
 people did Cicero after the first Catiline ora- 
 tion. Fräulein Ulrike also had thrown herself 
 upon his neck, and as he is making love to her, 
 and she is very pretty, the effect of the whole 
 was capital." 
 
 So it was decided to lcno:thcn the visit, and 
 to go on making music, writing verses, and 
 enjoying happy days. 
 
 *' When Goethe says to me, * My little one, 
 to-morrow there is a party, and you must play 
 for us,' how can I possibly say No ? Goethe 
 has heard ' Ach wer bringt die schönen Tage,' 
 and said to me, ',1 say, that is a very pretty 
 
 sonof. 
 
 } J» 
 
 * 
 
 * Letter of the 14th November to his parents. The allusion is 
 to Fanny Mendelssohn's setting of this poem, hitherto unpub- 
 lished, and not to be confounded with my f;ither's later well- 
 known composition (Op. 99, No. i). 
 
 Felix had told him that his sister Fanny 
 wanted some words to set to music ; so one 
 day Goethe came wath a poem written ex- 
 pressly for her, saying to Zelter, as he handed 
 it to him, '' Give this to the dear child." It 
 ran thus : 
 
 AN DIE ENTFERNTE. 
 
 Wenn ich mir in stiller Seele 
 
 Singe leise Lieder vor : 
 Wie ich fühle, dass sie fehle, 
 
 Die ich einzig auserkor. 
 jMöcht ich hoffen, dass sie sänge 
 
 Was ich ihr so gern vertraut ; 
 Ach ! aus dieser Brust und Enge 
 
 Drängen frohe Lieder laut.* 
 
 W^hen in silence of the soul, 
 
 Softly to myself I sing, 
 How I miss her whom my whole 
 
 Heart hath set o'er everything ! 
 Would she sing what in her ear 
 
 My full heart would fain be telling, 
 From this breast, so vainly swelling. 
 
 Songs would break forth glad and clear. 
 
 * Goethe's autograph is now in the possession of Fanny's son 
 Sebastian Hensel, to whom I am indebted for the above. 
 
\ 
 
 28 
 
 GOETHE AND MENDELSSOHN. 
 
 [1821 
 
 13TH year] 
 
 RETURN TO BERLIN. 
 
 29 
 
 However, with all her veneration for the manu- 
 script, Fanny never attempted to compose it 
 
 It IS characteristic of the boy that though 
 only twelve, and full of reverence for the great 
 poet, he should never have allowed his judge- 
 ment to be biassed. Of Mdlle. Szymanowska, 
 a Polish pianoforte player, whom Goethe used 
 to praise enthusiastically, he writes : '' People set 
 the Szymanowska above Hummel. They have 
 confused her pretty face with her not-pretty 
 playing." When he had to dine with Goethe's 
 friend Riemer, he said it gave him ''quite a 
 Greek feeling;" and he described the great 
 lexicographer with due respect as follows : *' He 
 seems to thrive on the making of Lexicons. He 
 is stout and fat, and as shiny as a priest or a 
 full moon." If Goethe had heard these and 
 similar expressions of his little Berlin guest, 
 they would no doubt have confirmed his opinion 
 of the Berliners, which he himself thus pro- 
 nounced to Eckermann : " From all that I see, 
 
 I gather that the Berliners as a class are such 
 a forward set, that delicacy is thrown away 
 on them ; one must have one's eyes wide open 
 and be even a little rude to keep above water."* 
 At dessert he gave his young friend as a 
 parting gift a little red box, which F'elix, to his 
 delight, found to contain a silver medal with 
 the portrait of the poet by Borry. 
 
 When the young traveller returned to Berlin, 
 after all these impressions and excitements, he 
 seemed ten times more lively than ever. '' The 
 first day," writes his mother, "he was really 
 like a volcano, quite bursting with fun and 
 spirits. Zelter had charged him to speak slowly 
 and distinctly, but you can fancy how such 
 an injunction would act on his tremendous 
 excitability. Their absence grew from a 
 fortnight to four weeks, of which the sixteen 
 days that he spent in Goethe's house will 
 always be memorable to him. Zelter and Doris 
 
 * Conversation of 4th December, 1823. 
 
30 
 
 GOETHE AND MENDELSSOHN. 
 
 [1821 
 
 13TII YEAR] CHRISTMAS. THE WALDTEUFEL. 
 
 could not talk enough about the sensation he 
 created in Weimar." 
 
 The approach of Christmas gave Felix the 
 opportunity of recalling himself to the memory 
 of his Weimar friends in an amusing way. At 
 Ottilie s wish he sent his playfellows Wolf and 
 Walter a kind of rattle (called in Germany a 
 Waldteufel— Xh^t is, a Wood-spirit), a favourite 
 toy of the Berlin street-boys; and he accom- 
 panied his present with the following letter :— 
 
 ' * 
 
 **A 'Waldteufel. 
 
 *' Here is the 'Waldteufel' You command 
 —and it is done. Will you be so good as to 
 give it to my dear little playfellow as a small 
 Christmas present. But I rather advise you to 
 taboo this droning little brute, for the sound of 
 him in a room is most excruciating; out of 
 
 * Communicated by Professor Nohl from the original in the 
 Hofbibliothek at Carlsruhe. 
 
 doors, at the Berlin Christmas fair, where you 
 see and hear the noisy things by hundreds, the 
 clatter is more bearable. I do so wish (out of 
 pure selfishness) you were here, and could see 
 it all with your own eyes. Walter would be 
 delighted with the fair, the lights, the toys, and 
 the racket, and hubbub, and din, and scream- 
 ing, of the * Waldteufel ' and the children. And 
 if the Herr Kammerrath wants to be sickened 
 of the famous Ypsilanti, he had better come 
 to Berlin and go to the fair, where one can 
 hear it, with or without variations. But to him 
 the best part of all the fun would be the happy 
 faces wherever you go, both of givers and 
 receivers. 
 
 '' You would enjoy the fair this year, for it is 
 most splendid, and up to to-day, the 20th of 
 December, we have not had more than one 
 degree of frost. 
 
 '' So much for the Berlin Christmas fair. 
 
 ^'Volti Subito. 
 
'' What is all Weimar about ? 
 
 '' What an imp07'ta7it (jiiestion! 
 
 "It was my father's birthday on the nth. 
 We gave him as much as we could. All our 
 friends gave him presents. But one present, of 
 course, surpassed all the rest. The Herr 
 Geheimrath's letter arrived on that day. As to 
 his sometimes in the afternoons making a little 
 motion with his head, I can hardly flatter 
 myself; it would be far too great an honour 
 for my strumming, and good as he is, I can 
 scarcely believe it. Do you think 1 might 
 venture to remind him of the leaf he promised 
 
 for my book ? 
 
 "A thousand greetings to Miss Adele/'' We 
 
 ♦ Adele Schopenhauer had a wonderful talent for cutting out 
 paper. She had made a "Jacob's ladder" for Fehx ; that is to 
 say she cut out in black paper two staves of music with angels 
 floating up and down them. Beneath the ladder thus formed 
 there were clouds, and beneath these a sleeping figure, with 
 its face turned upwards. The whole was mounted on pink 
 paper, and on the back was written : " Jacob, in his dream, 
 saw a ladder reaching up to heaven, with angels ascending 
 
 13TH year] 
 
 THE JACOB'S LADDER. 
 
 33 
 
 all look forward to the witches-broom* as much 
 as to Christmas-eve, if I may make use of this 
 stale and unpoetical simile. Everybody who 
 comes here has to see the * Ladder ' f (and con- 
 sequently admire it, and consequently envy me). 
 Varnhagen saw it the other day, and was 
 rather taken aback by it. However, in a few 
 days he brought my sister one, which is to be 
 a pendant to yours. It is very delicate, like 
 everything that he cuts out, but in the group- 
 ing, and more especially the idea, it Is far, 
 far behind yours. 
 
 and descending on it ; the ladder is still standing upon earth, 
 and the ascending and descending angels are the notes which 
 carry the sounds up to heaven." Varnhagen possessed the 
 same talent as Adele, and was incited by her masterpiece to 
 cut out a basket of flowers with fairies hovering around it, 
 for Fanny Mendelssohn. 
 
 * Another of Adele Schopenhauer's silhouettes^ — described on 
 page 34. 
 
 t To understand the point of the allusion to the Jacob's ladder, 
 it may be well to explain that the German for the Scale is • 
 "Tonleiter," literally a "ladder of sound." — Trans. 
 
 D 
 
34 
 
 GOETHE AND MENDELSSOHN. 
 
 [1822 
 
 II I 
 
 '* Please remember me to Herr and Madame 
 Eberwein, and give my love to the Wolf. 
 
 '' Your faithful 
 
 ** F. Mendelssohn." 
 
 The promised leaf for the album was not 
 long in arriving. Adele Schopenhauer and 
 Goethe united to give their little Berlin friend 
 a pleasant surprise. Adele had cut out in her 
 best style, in pink paper, a winged hobby-horse 
 in the shape of a witches-broom, bestridden by 
 a little elf, crowned and decked with flowers ; 
 and underneath, Goethe had written the follow- 
 ing lines in the most formal hand : — 
 
 "Wenn über die ernste Partitur 
 
 Quer Steckenpferdchen reiten, 
 Nur zu auf weiter Töne Flur, 
 
 Wirst Manchem Lust bereiten, 
 Wie du's gethan mit Lieb' und Glück. 
 Wir wünschen Dich allesammt zurück. 
 
 Weimar, i/cu 20/cn Januar^ 1822." 
 
 Goethe. 
 
 When up the score and down again 
 Small hobby-horses ride. 
 
 I 
 
 «I 
 I 
 
 ♦ 
 «I 
 
 14TH year] 
 
 SILHOUETTE OF GOETHE. 
 
 35 
 
 Away o'er music's wide domain 
 Fresh pleasure you'll provide, 
 As you have done with loving gain. 
 We all here wish you back again. 
 
 In the autograph of the above, the signature 
 " Goethe '' alone is in a bold free hand. With 
 Psyche's hobby-horse there is a second sil- 
 hotiette by Adele — a figure elaborately got up, 
 in dress-coat, shirt-frill, and knee-breeches, hat 
 in hand, making a solemn low bow : the profile 
 is Goethe's, and on the back of his neck is 
 perched a little winged genius, with hands out, 
 strumming upon his head. The two silhottettes, 
 with the autograph of the verses and the 
 "Jacob's ladder," are still in my father's album, 
 together with the autograph of the lines, 
 " Zwar die vier und zwanzig Ritter,'' as far 
 as *' besonders aber eine, welche wir zu segnen 
 kamen," and the manuscript (referred to below) 
 from the second part of Faust : also a pen-and- 
 ink sketch by Goethe, representing a Greek 
 temple, with a figure holding a lyre descending 
 
 D 2 
 
36 
 
 GOETHE AND MENDELSSOHN. 
 
 [1822 
 
 M 
 
 the steps. The temple recalls the singular 
 buIldincT which he erected in the park at 
 Weimar. Close by is the open sea, with the 
 peaks of an island rising in the distance. On 
 the o-rass before the temple is a Greek woman 
 in deep meditation. 
 
 The old poet's interest in the young musician 
 continued without abatement. He writes to 
 Zelter on the 5th of February, 1822: ''Say 
 somethinor nice to Felix from me, and also to 
 his parents. Since your departure my piano 
 remains dumb ; a single attempt to awaken it 
 almost turned out a failure." 
 
 In the autumn of 1822 Felix repeated his 
 visit, this time in company with his sister 
 Fanny and his parents, who thus had the 
 pleasure of seeing with their own eyes how 
 quickly and how surely their son had won 
 the hearts of all. 
 
 ''In the Goethes and Schopenhauers we have 
 made the most delightful and never-to-be- 
 
 14TH YEAR] SECOND VISIT TO GOETHE. 
 
 37 
 
 I ^i 
 
 forgotten acquaintances," writes his mother. 
 '* With a true mother s pleasure I saw how 
 immensely beloved Felix had made himself 
 amongst these superior people, and his happy 
 parents are proud to owe to him the 
 wonderful kindness with which they were 
 received. Goethe, the distinguished, exalted 
 Minister, around whose head dignity, renown, 
 poetic fame, genius, and distinction of every 
 kind form a dazzling crown of glory, and before 
 whom common mortals tremble, is so sweet 
 and kind-hearted and so like a father to the 
 boy, that it is only with the deepest gratitude 
 and most joyful emotion that I can recall these 
 delightful times. He talked for hours with my 
 husband about Felix, and earnestly begged' to 
 have him again for a still longer visit; his eyes 
 dwelt on him with evident satisfaction, and his 
 gravity was turned into gaiety when he had 
 been improvising to his satisfaction. As he 
 does not care for ordinary music, his piano had 
 
fl 
 
 ii 
 
 38 
 
 GOETHE AND MENDELSSOHN. 
 
 [1823 
 
 remained untouched during Felix's absence, but 
 as he opened it for him he said, ' Come and 
 awaken for me all the winged ^'' spirits which 
 have so long been slumbering here.' And 
 another time : * You are my David, and if I am 
 ever ill and sad, you must banish my bad 
 dreams by your playing; I shall never throw my 
 spear at you, as Saul did.' Isn't that too touch- 
 ing from an old man of seventy-three ? Felix, 
 who in a general way seems rather indifferent to 
 praise, is, with good reason, proud of the favour 
 which Goethe shows him, and this feeling can 
 only elevate and improve him. He was also very 
 friendly and condescending to Fanny ; she had to 
 play a good deal of Bach to him, and he was 
 extremely pleased with those of his songs which 
 she had composed ; in fact, it is always a great 
 delight to him to see his things set to music." 
 
 * "Geflügelte Geister." There is a play in the words here 
 which cannot well be rendered into English, " Flügel " being the 
 German word for a piano as well as for a wing. — Trans, 
 
 I 
 
 15TH year] 
 
 ZELTER'S REPORT. 
 
 39 
 
 In the succeeding years also, Zelter had the 
 satisfaction of being able to make gratifying 
 reports to Goethe of Felix's progress. " My 
 Felix," he writes on the nth of March, 1823, 
 " has entered upon his fifteenth year. He grows 
 under my very eyes. His wonderful pianoforte 
 playing I may consider as quite a thing apart 
 He might also become a great violin player. 
 The second act of his fourth opera is finished. 
 In everything he gains, and even force 
 and power are now hardly wanting; everything 
 comes from within him, and the external things 
 of the day only affect him externally. Imagine 
 my joy, if we survive, to see the boy living in 
 the fulfilment of all that his childhood gives 
 promise of!" 
 
 '' Yesterday," he reports on the 8th of February, 
 1824, "we gave a complete performance, with 
 dialogue, of Felix's fourth opera.* There .are 
 
 * The fourth opera was " Die beiden Neffen, oder Der Onkel 
 aus Boston. Oper in 3 Acten"— still in manuscript. 
 
40 
 
 GOETHE AND MENDELSSOHN. 
 
 [1824 
 
 I 6th year] 
 
 FELIX'S PROGRESS. 
 
 41 
 
 ill 
 
 three acts and two ballets, filling up about an 
 hour and a half. Tje work met with a very 
 favourable reception. I cannot get over my 
 astonishment at the enormous strides which 
 this boy of fifteen makes. Novelty, beauty, 
 individuality, originality, all alike are to be 
 found in him, — genius, fluency, repose, harmony, 
 completeness, dramatic power, and the solidity of 
 an experienced hand. His instrumentation is 
 interesting; not overpowering or fatiguing, and 
 yet not mere accompaniment. The musicians 
 like playing his music, and yet it is not exactly 
 easy. Now and then a familiar idea comes and 
 passes on again, not as if borrowed, but, on the 
 contrary, fit and proper for its place. Gaiety, 
 spirit without flurry, tenderness, finish, love, pas- 
 sion, and innocence. — The Overture is a sino-ular 
 
 o 
 
 thing. Imagine a painter flinging a dab of 
 colour on his canvas and then working it about 
 with fingers and brushes till at last a group 
 emerges, and you look at it with fresh wonder, 
 
 ^ 
 
 and only see that it must be true because there 
 it is. No doubt I am talking like an old grand- 
 father bent on spoiling his grandchild. But I 
 know what I say, and say nothing which I 
 can't prove. And my first proof is public ap- 
 proval, especially that of the players and singers ; 
 because it is easy to discover whether their 
 fingers and throats are set in motion by cold- 
 ness and ill-will, or love and pleasure. You must 
 surely understand this. Just as a writer who 
 speaks to the heart is sure to please, so is a 
 composer who gives the player something which 
 he can not only play and enjoy himself, but 
 make others enjoy too. This speaks for 
 itself. — I may hope that you will take my 
 account of Felix's progress as grist to my own 
 mill. 
 
 " You know the misery of these schools even 
 better than I do : great aims, little talent, enor- 
 mous means, and all for nothing. These are 
 the evils; and so one ought indeed to be glad 
 
42 
 
 GOETHE AND MENDELSSOHN. 
 
 [1825 
 
 17TH year] 
 
 PARIS. 
 
 CHERUBINI. 
 
 43 
 
 m 
 
 ii 
 
 to find some one who does what he can, and 
 is always ready for every emergency." 
 
 In a letter of the 26th of December, 1824, he 
 says : '' To-day we are to hear my Felix's latest 
 double Concerto.-'' The boy is now well rooted, 
 and gives promise of growing into a healthy tree. 
 His individuality becomes more and more ap- 
 parent, and blends itself so well with the spirit 
 of the age, that it seems to come out of it like 
 a bird from the egg" 
 
 In the spring of 1825, Felix went to Paris with 
 his father to consult Cherubini as to making 
 music his vocation. Cherubini had long been 
 a perfect terror to the artists of Paris, and 
 everyone trembled at his bitter sarcasms. 
 Halevy had fairly frightened the new arrivals 
 by telling them that there were days when 
 it was impossible to extract anything from 
 him. To a young musician who played to 
 
 * In E major, for two pianos and orchestra. This work, like 
 the former one in A flat, still rema'^ in manuscript. 
 
 i 
 
 him, he said : '' Do you perhaps paint well ? " 
 and to another : '' Vous ne ferez jamais rien ! '^ 
 When Halevy showed him anything of his own 
 it was a sure sign of its being especially 
 good if Cherubini said nothing and made no 
 faces. Once, and once only, when Halevy 
 had played his opera "La Juive" to him, did 
 the spiteful old Maestro deign a remark : 
 '* C'est bien, mais c'est trop long ; il faut 
 couper.'* 
 
 Felix had just finished his B minor quartett 
 for piano and strings, and intended to dedi- 
 cate it to Goethe. It is easy to imagine the 
 excitement of the Parisians when, after a very 
 poor performance by French artists, Cherubini 
 went up to Felix smiling and nodding. He 
 then turned to the bystanders and said : " Ce 
 gar^on est riche ; il fera bien; il fait meme 
 deja bien, mais il d^pense trop de son argent, 
 il met trop d'etoffe dans son habit.'' Every- 
 one declared that such a thing was unheard 
 
44 
 
 GOETHE AND MENDELSSOHN. 
 
 [1825 
 
 of, especially as Cherubini afterwards added, 
 "Je lui parlerai, alors il fera bien/' Halevy 
 was not present at the time, and absolutely 
 refused to believe that Cherubini could have 
 so spoken to a young musician. To us, how- 
 ever, it seems natural enough for one who had 
 received Goethe's blessing, not to be afraid 
 of Cherubini. 
 
 The opinions which the boy expressed on the 
 dreaded Maestro and on the general state of 
 music in Paris, show a decided independence 
 of mind and real originality. He compares 
 Cherubini to an extinct volcano, still throwing out 
 occasional flashes and sparks, but quite covered 
 with ashes and stones. In the '' Kyrie" which he 
 wrote for Cherubini during his stay in Paris, he 
 actually ventured to parody the style of the 
 terrible old Maestro himself 
 
 "Clever fellow!" says Zelter; ^'he has con- 
 trived to compose the piece in a style which, 
 though possibly not the right one, is just the one 
 
 « 
 
 17TH year] 
 
 DISAPPOINTED WITH PARIS. 
 
 45 
 
 which Cherubini was groping after, and, unless 
 I am mistaken, has not found." 
 
 Felix felt in his heart that his vocation was to 
 be a German artist ; and the conviction made him 
 shrink from the excitement of Paris, and blame 
 the want of serious musical feeling and of true 
 enthusiasm for the art, which prevailed among 
 the French musicians. 
 
 '' I had hoped,'' says he, '' to find this the native 
 home of music, musicians, and musical taste ; but, 
 upon my word, it is nothing of the kind. The 
 sa/ous, though I did not expect much from them, 
 are wearisome ; people care only for trivial, showy 
 music, and won't put up with anything serious or 
 solid. The orchestras (I have heard those 
 of the Opera and the Academie Royale) are 
 very good, but by no means perfect ; and lastly, 
 the musicians themselves are either dried up, 
 or else do nothing but abuse Paris and the 
 Parisians. 
 
 *' At the concert at Tremont last Sunday I heard 
 
46 
 
 GOETHE AND MENDELSSOHN. 
 
 [1825 
 
 17TH year] 
 
 MUSIC AT PARIS. 
 
 47 
 
 lit 
 
 iii 
 
 Urhahn * play some variations on the viola. He 
 tunes it differently to the usual way, that is to say, 
 f c, f c. This is very effective the first time you 
 hear it, but still it is a bad plan, for the instru- 
 ment loses the depth of the viola without gaining 
 the acuteness of the violin, while it is obviously 
 only available in F major, or at best C major. 
 After this Kalkbrenner played a new sextett of 
 his own in A minor. The piano has quite the 
 leading part, and the clarinet, cello, and double- 
 bass merely accompany. There are some pretty 
 
 * A friend has kindly given me the following information : — 
 " Urhahn was the principal viola player at the Grand Opera. 
 He was my godfather, a great and dear friend of my parents, a 
 profound musician, and the greatest original imaginable. His 
 originality showed itself in an excess of piety ; while playing the 
 Soli in the ballet of the Grand Opdra he never would look at the 
 ballet dancers, even when Habeneck, the conductor, bade him do 
 so for the sake of the ensemble. He was ascetic in the full sense of 
 the word, and would for eight or ten days live on radishes and 
 bread and butter to get rid of inconvenient thoughts. His health 
 of course became, worse and worse by this hygiene, and he died 
 young, of cancer. He came from Malmedy, near Aix-la-Chapelle, 
 but lived in Paris from 1821. He was a great friend of Begas the 
 painter." — Trafis. 
 
 things in it, but mostly taken from Hummel's 
 septett, on which the piece is really modelled. 
 He played very well, though with some unstea- 
 diness, on account of the fearful and unbearable 
 heat. Just before he began he turned to 
 Herz, and said with a sweet smile, ' Play 
 for me, and I promise to give you ten sous.' 
 But Herz, smilingly stroking his black beard, 
 answered with a smile, * Nay, that would 
 not be agreeable to the public' ' I beo- 
 your pardon,' said Kalkbrenner with another 
 smile. 
 
 " Yesterday we were at the Feydeau, and saw 
 the last act of an opera of CateFs, called 
 ' L'Aubergiste,' and Auber's ' Leocadie/ The 
 theatre is large, cheerful, and pretty ; the orchestra 
 very good ; and if the fiddles are not as fine as 
 those at the Opera Buffa, the basses and the wind 
 and the ensemble are better; and the conductor 
 stands in the middle. The singers do not sing 
 badly, though they have no voices ; their acting 
 
48 
 
 GOETHE AND MENDELSSOHN. 
 
 [1825 
 
 17TH year] 
 
 AUBER'S LEOCADIE. 
 
 49 
 
 is lively and rapid, and the whole goes well 
 together. But now for the chief thing, the com- 
 position. Of the first opera I will say nothing, 
 for I only heard half of it, and that was poor and 
 weak, though not without pretty, light melody ; 
 but the celebrated ' Leocadie,' by tlie celebrated 
 A über — anything so miserable you really cannot 
 conceive. The story is taken from a wretched 
 novel of Cervantes, wretchedly cooked up into an 
 opera, and I could never have believed that so 
 vulgar and objectionable a piece should not only 
 hold its ground, but in a short time run through 
 fifty-two representations before an audience of 
 Frenchmen, who really have nice feeling and 
 correct taste. To this novel, which belongs to 
 Cervantes' wild period, Auber has made the most 
 miserably tame music. I don't speak of there 
 being no breadth, no life, no originality in the 
 w^hole opera, and of its being patched together of 
 alternate reminiscences of Cherubini and Rossini ; 
 I don't speak of there being no vestige of 
 
 seriousness or spark of passion, no power, no 
 fire in it, nor that in the greatest climaxes the 
 singers have to make roulades and shakes and 
 passages ; but surely the favourite of the public, 
 the pupil of Cherubini, a man with grey hair, 
 might have been expected to know something 
 about instrumentation, now that it has become so 
 easy through the publication of the scores of 
 Haydn, Mozart, and Beethoven !. Not even that. 
 Just fancy that out of the many pieces in 
 the whole opera, there are perhaps three in 
 which the piccolo does not play the chief part. 
 The Overture begins with a tremolando in the 
 strings, but very soon out pop the piccolo from 
 the garret, and the bassoon from the cellar, and 
 pipe away a melody between them. In the sub- 
 ject of the Allegro the strings have the Spanish 
 accompaniment, and the piccolo toodes another 
 air to it. Leocadie's first melancholy air, ' Pauvre 
 Leocadie, 11 vaudrait mieux mourir,' is appro- 
 priately accompanied by a piccolo; the piccolo 
 
 E 
 
so 
 
 GOETHE AND MENDELSSOHN. 
 
 [1825 
 
 17TH year] 
 
 PARIS. BAILLOT. 
 
 51 
 
 expresses the brother's racre, the lovers o-Hef 
 the peasant girFs joy— in short, the whole thing 
 might be capitally arranged for two flutes and a 
 jew's-harp ad libitum. Oh dear ! 
 
 ** You tell me also, Fanny, that I ought to set 
 up for a reformer, and teach people to like 
 Onslow, Reicha, Beethoven, and Sebastian Bach. 
 I do that already, as far as I can. But recol- 
 lect, my dear child, that the people here don't 
 know a note of * Fidelio,' and look upon Bach 
 as a mere full-bottomed wig, powdered with 
 nothing but learning. 
 
 *'The other day, at Kalkbrenners request, I 
 played Bach's organ preludes in E minor and A 
 minor. The people thought them both sweetly 
 pretty, and somebody remarked that the begin- 
 ning of the A minor prelude bore a striking 
 resemblance to a favourite duett of Monsigny's 
 
 (a French opera writer)! everything danced 
 
 before my eyes. 
 
 '* At Madame Kiene's a few days ago I played 
 
 \x I 
 
 II 
 
 my B minor quartett with Baillot. He began 
 quite in a careless, indifferent sort of way, but at a 
 passage in the first part of the first movement he 
 got into the spirit of the thing, and played the rest 
 of the movement and the Adagio very well and 
 with plenty of vigour. Then came the Scherzo : 
 I suppose the opening of it pleased him, for he 
 went off like anything, at a tremendous pace, the 
 others after him, I trying to keep them back ; but 
 it's not much good trying to keep back three 
 runaway Frenchmen. And so they carried me 
 along with them, always madder and madder and 
 faster and louder ; and especially at one place 
 near the end, where the subject of the Trio comes 
 at the top, against the beat, Baillot lashed away 
 in the most furious style, in a rage with himself 
 because he had made the same mistake several 
 times over. When it was finished, all that he said 
 to me was, ' Encore une fois ce morceau.' That 
 time it went smoothly, but still more madly than the 
 first time. The last movement at first went like 
 
 E 2 
 
52 
 
 GOETHE AND MENDELSSOHN. 
 
 [1825 
 
 17TH year] 
 
 MUSIC AT PARIS. 
 
 53 
 
 wildfire. At that part near the end where the 
 subject comes in for the last time in B minor, 
 quite fo7^tissiino, Baillot sawed away at his 
 strings in a perfect frenzy, so that I was almost 
 frightened at my own quartett ; and at the end, 
 he came up to me, again without a word, and 
 embraced me twice as if he wanted to stifle me. 
 Rode also was very much pleased, and a 
 long while afterwards, suddenly said to me in 
 German : ' Bravo, mein Schatz ! ' . . . . Fanny, 
 you write to me of prejudices and partiality, of 
 growling and owlishness, and of the land flow- 
 ing with milk and honey— as you call this Paris. 
 Just reflect, I beseech you, are you in Paris, or 
 am I ? Surely I must know more about it than 
 you. Is it my way to let myself be hampered 
 by prejudices in my judgment of music .^ And 
 even if it were, is Rode prejudiced when he says, 
 ' Cest une degringolade musicale 'i ' Is Neukomm 
 prejudiced when he says, 'Cest pas ici le pays des 
 orchestres ? ' Is Herz prejudiced when he says, 
 
 i 
 
 * The public here can understand and appreciate 
 nothing but variations ' ? and are thousands of 
 others prejudiced when they swear at Paris '^. 
 It is you who are so prejudiced that you believe 
 my impartial statements less than the lovely pic- 
 ture of an Eldorado Paris that your own fancy 
 has drawn. Take up the Co7istitutionnel, what 
 are they giving at the Italian opera besides 
 Rossini ? Take up a music-catalogue, what is 
 published or sold but romances and potpourris ? 
 Wait till you have been here and heard 
 ' Alceste,' ' Robin de Bois,' and the soirees ; 
 or till you have heard the music in the King's 
 Chapel, and then judge and scold, but not now 
 when you are hampered and regularly blinded 
 by prejudices. But forgive me for this Allegro 
 fej'oce. 
 
 '' I have been busy these last days making a 
 Kyrie ä 5 voce and grandissimo orchestra : in 
 bulk it surpasses anything I have yet written. 
 There is also a tolerable amount oi pizzicato in 
 

 » ) 
 
 54 
 
 GOETHE AND MENDELSSOHN. 
 
 [1825 
 
 17TH year] 
 
 LETTER FROM GOETHE. 
 
 55 
 
 it, and as for the trombones, they will need 
 good windpipes.'' * 
 
 This is a characteristic account of French 
 musical life. It shows what a strictly artistic 
 tendency the young musician had already de- 
 veloped at the early age of sixteen, and how 
 unhesitatingly, in the very spirit of Goethe, he 
 passed sentence on those who looked upon music 
 as a mere trade. 
 
 Felix remained in Paris from the 23rd of 
 March till the 19th of May ; on the journey home 
 he stopped at Weimar for a short visit, of which 
 Goethe gives Zelter the following account : — 
 " Herr Mendelssohn stayed far too short a 
 time on his way home. Felix produced his 
 last new quartett, and astonished everyone 
 with it. This personal and definite dedication 
 through the ear pleased me very much. 
 Felix told the ladies some things about the 
 
 * Letters to his parents of the i8th and 22nd April, 1825. 
 
 '1: 
 
 ^i 
 
 t 
 
 Parisian musical life, which were very character- 
 istic of the present time.'' 
 
 As an acknowledgment for the Dedication of 
 the B minor quartett, Goethe soon after this 
 sent his young friend what Zelter calls a 
 ''beautiful love-letter." It ran as follows: — 
 
 *' You have given me very great pleasure, 
 my dear Felix, by your valuable present ; which, 
 though already announced, took me by surprise. 
 The print, the title-page, and the splendid 
 binding, all vie with each other to make it a 
 magnificent gift. I regard it as the graceful em- 
 bodiment of that beautiful, rich, energetic soul 
 which so astonished me when you first made me 
 acquainted with it. Pray accept my very best 
 thanks, and let me hope that you will soon 
 give me another opportunity of admiring in 
 person the fruits of your astonishing activity. 
 Remember me to your good parents, your 
 equally gifted sister, and your excellent master. 
 
i 
 
 ;l 
 
 56 
 
 GOETHE AND MENDELSSOHN. 
 
 [1825 
 
 May a lively remembrance of me always be 
 maintained in such a circle. 
 
 ''Yours faithfully, 
 *'J. W. Goethe. 
 
 "Weimar, iZth June, 1825." 
 
 'Goethe's kindly sympathy urged on the young 
 artist to fresh and unceasing efforts. He com- 
 pleted his fifth* opera, and composed his 
 Octett.t '' He takes his time by the ears, and 
 has his own way with it," writes Zelter. 
 ''A few weeks ago he gave his excellent tutor 
 Heyse a most pleasant birthday present — 
 -namely, Terence's 'Andria' translated entirely 
 by himself in metre; and it seems that there 
 are some very good lines in it, but I have not 
 yet seen it. He plays the piano like fury, and 
 isn't backward at stringed instruments; and 
 
 *"Die Hochzeit des Camacho: Comic Opera in two Acts" 
 (Op. 10). 
 
 t The well-known Octett for strings in E flat (Op. 20). 
 
 17TH year] 
 
 FELIX AND THE CRITICS. 
 
 57 
 
 with all that he is strong and healthy, and 
 can swim against the stream like anything. 
 
 ** They have reviewed his quartetts and sym- 
 phonies somewhat coldly in the musical paper, 
 but it won't hurt him ; for these reviewers are 
 themselves but young fellows looking for the 
 very hat they hold in their hands. 
 
 ** If one did not remember how Gluck and 
 Mozart were criticised forty years ago, one might 
 lose heart. Things that are completely above 
 the heads of these gentlemen, they cut up 
 as coolly as possible, and fancy they can 
 judge the whole house by one brick. And 
 what I especially give him credit for, is the 
 way in which he works at everything as a 
 whole and with his whole might ; and finishes 
 whatever he begins, let it turn out as it 
 will ; and he therefore seldom shows any 
 special affection for the finished things. Of 
 course one now and then finds a litde hetero- 
 geneous material, but it gets carried away by 
 
■^,1** iiM, «►» -■rtlvti' ^i 
 
 "4,-,. V f». ^^ ,1... -, w-i> -r^.*»« 4*^ 
 
 4 
 
 58 
 
 GOETHE AND MENDELSSOHN. 
 
 [1827 
 
 19TH YEAR] MATRICULATES AT BERLIN. 
 
 59 
 
 the stream, and ordinary faults and weaknesses 
 are rare." * 
 
 " Now I must beg you," writes Goethe to 
 Zelter after Felix had sent him his '' Andria," 
 " to be so good as to give my best thanks to 
 the excellent and industrious Felix for this 
 glorious specimen of his serious aesthetic 
 studies ; his work will be a special amusement 
 for the circle of art-lovers at Weimar during 
 the coming long winter evenings/' 
 
 On the 20th February, 1827, Zelter continues 
 his report as follows : — ** My Felix has accepted 
 an engagement at Stettin to perform his latest 
 works there, and set off on the i6th. The dear 
 boy attained his nineteenth year on the 3rd 
 of this month, and his productions gain in ripe- 
 ness and originality. His last opera, which 
 occupies a whole evening, has been promised 
 at the Theatre Royal for more than a year, but 
 
 * Letter of the 6th November, 1825. 
 
 has not yet managed to see the light; whereas 
 all manner of French trash and rubbish eets 
 put on the boards, and hardly survives a second 
 representation. As we are young and able to 
 stand against all the prejudices which embitter 
 the best part of the lives of so many other 
 people, it cannot do us much harm; but I do 
 wish that with all his industry he may as quickly 
 as possible grow out of this time of ours, for 
 one has to be civil to it, whether one likes it 
 or not; and in this I could still be of use 
 to him, by making him lean more and more 
 on himself" 
 
 In the summer of 1827, Felix matriculated 
 at the Berlin University, and attended the lec- 
 tures of Gans, Ritter, Lichtenstein, and Hegel. 
 '' Hegel," says Zelter, '' is just giving a course 
 of lectures on music; Felix writes them out 
 thoroughly well, but, like a rogue, manages to 
 introduce all Hegel's personal peculiarities in 
 the most naive manner. 
 
.1 
 
 6o 
 
 GOETHE AND MENDELSSOHN. 
 
 [1829 
 
 2 1 ST year] 
 
 GOETHE'S ANXIETY 
 
 61 
 
 '' This Hegel says : * There is no real music 
 now ; we have advanced, but we are not near 
 the right thing by a long way/ — We know 
 that as much or as little as he does, if 
 he could only demonstrate to us musically 
 whether he himself is on the nVht road. And 
 so meanwhile we will go steadily onwards, piano 
 and sano, as prompted by God whom we all 
 serve. For we don't know what we oucrht 
 to pray for, and always want more, and so 
 others may do the same." 
 
 It was with the most lively interest that 
 Goethe watched the process of development 
 which Zelter describes in this original style. 
 When he heard how Bach's eieantic '* Passion " 
 had been performed under the direction of 
 FeHx on the nth March, 1829, after lying 
 neglected for nearly a hundred years, he wrote 
 to his friend : *' It is just as if I heard the 
 roaring of the sea (rom a distance. I wish you 
 joy of so complete a success in that which is 
 
 almost beyond achievement. I rejoice with all 
 my heart in the satisfaction that Felix gives 
 you : amongst my many pupils, I have not 
 been so fortunate with more than a very few." 
 
 After Felix's accident during his journey in 
 England in the summer of 1829, when he was 
 thrown out of a carriage and hurt his knee, 
 Goethe made many anxious inquiries after him 
 in his letters to Zelter: ''Above all, I want to 
 know if there is favourable news of the good 
 Felix. I feel the greatest interest in him, for it 
 is most vexatious to see one who has turned 
 out so remarkable, endangered by a tiresome 
 accident, in the midst of progress and activity. 
 Pray give me some consolation." 
 
 In the spring of 1830, when Felix had grown 
 from a young man into a matured artist, he had 
 again the satisfaction of beholding the face of 
 the immortal master. 
 
 In Zelters opinion the atmosphere of Berlin 
 hindered and cramped the progress of his pupil. 
 
f \ 
 
 62 
 
 GOETHE AND MENDELSSOHN. 
 
 [1830 
 
 2 2ND year] 
 
 AT WEIMAR AGAIN. 
 
 63 
 
 He ** feared," as he expressed himself, ''to see 
 him dissolve on the spot, like a jelly, in the 
 midst of the pernicious and idle family tittle- 
 tattle of the place. I can hardly await the 
 time when the boy will be out of reach of all 
 the confounded musical trash of Berlin, and get 
 to Italy, where, to my mind, he ought to have 
 gone long ago. There the very stones have 
 ears, while here they eat lentils and pig's ears." 
 In his rough way the old Professor had hit 
 the right nail on the head ; for surely it is a 
 blessing for any ardent nature to be able at the 
 outset of life to shake off the restraint of home 
 and see the world. 
 
 However hard the parting from their son 
 might prove, his parents knew very well that 
 the separation would be of real benefit to him, 
 and it was determined that Felix should under- 
 take a long journey. Before going to the birth- 
 place of art, he was to seek the Poet's blessino 
 on his visit to Rome " I have said nothing to 
 
 my belongings," wrote Goethe when Zelter an- 
 nounced the approaching visit, "so that their 
 delight at seeing Felix again may be heightened 
 by the surprise;" and on the 21st of April, 
 1830, when the expected visitor was detained 
 by an attack of measles, he asks : " How is it 
 about Felix? Has he recovered, and are we 
 sooil to be rejoiced by his presence?" 
 
 When Felix arrived at Weimar in the 
 end of May, he found Goethe outwardly un- 
 changed, though at first somewhat silent and 
 apathetic. "I think he wanted to see how 
 I should take it; and I was vexed because I 
 thought he had really become so. But luckily 
 the conversation turned upon the Women's 
 Societies of Weimar, and the ' Chaos,' an ex- 
 travagant paper which the ladies publish among 
 themselves, and to which I have ventured to 
 become a contributor; and then old Goethe 
 suddenly began to get jovial, and to chaff the 
 two ladies about charitable doings, and would- 
 
64 
 
 GOETHE AND IVIENDELSSOHN. 
 
 [1830 
 
 be intellectualism and subscriptions, and sick- 
 nursing, which he seems particularly to detest ; 
 he called me to join in the attack, and as I 
 didn't wait to be asked twice he soon became' 
 quite his old self, and even more kind and con- 
 fidential than he used to be with me. He 
 stormed away at the universal sentimentality 
 and melancholy of young men, reviled the ex- 
 hibitions, and sales of work for the distressed, 
 where the Weimar ladies had stalls, and nothing 
 could be got because the young men settled it 
 all beforehand amongst themselves, and the 
 thmgs were hidden till the right buyers came. 
 After dinner, all at once he began ' Gute 
 Kinder — hübsche Kinder, muss immer lustig 
 sein — tolles Volk/ making eyes all the time 
 like an old lion when he wants to go to sleep. 
 Then I had to play to him, and he observed 
 how strange it was that he had heard no music 
 for so long a time, and meanwhile we had 
 always been advancing, while he knew nothing 
 
 ,22 ND year] 
 
 GOETHE'S WELCOME. 
 
 65 
 
 of it; and so I ought to tell him a great deal 
 about it all, for ' we must once more have a 
 sensible talk together.' . . . 
 
 '*As I had asked Goethe to call me 'Du/ he 
 sent me word by Ottilie that in that case I 
 must stay more than two days, or else he could 
 not get into the way of it again. And then 
 he repeated the same thing to me himself, and 
 said I shouldn't miss anything if I stayed a little 
 longer, and invited me to come to dinner every 
 day, unless I wanted to go anywhere else ; and 
 as I have now been there every day, and yester- 
 day had to tell him all about Scotland, and 
 Hengstenberg, and Spontini, and Hegel's Esthe- 
 tics, — and as he sent me to Tiefurth with 
 the ladies, forbidding me, however, to go on to 
 Berka, because there was a beautiful girl living 
 there, and he did not wish to plunge me into 
 misery,— and as I felt that this was the very 
 Goethe of whom people will one day declare 
 that he is not at all one person, but is made up 
 
 F 
 
66 
 
 GOETHE AND MENDELSSOHN. 
 
 [1830 
 
 of several smaller Goethes 1 should have 
 
 been very foolish indeed if I had grudged the 
 time." 
 
 And so the old merry life which they had 
 led in the autumn of 1821 was beo-un ao-ain • 
 they made music, and wrote doggrel rhymes, 
 and when the old gentleman had gone to his 
 room at nine o'clock, they danced, and never 
 thought of separating before midnight. 
 
 Goethe commissioned a painter to make a 
 portrait of the young artist for a collection of 
 his friends' likenesses which he had for some 
 time been making. Every morning he had a 
 music lesson. This consisted in Felix's playing 
 to him for an hour, pieces by all the great com- 
 posers in chronological order, and then explain- 
 ing what each had done to further the art. All 
 the while he would sit in a dark corner, '' like a 
 Jupiter Tonans, with his old eyes flashino- 
 fire." At first he would not venture upon 
 Beethoven at all. But when Felix declared he 
 
 22ND YEAR] GOETHE'S MUSIC-LESSONS. 
 
 67 
 
 could not help it, and played the first move- 
 ment of the C minor Symphony, he remarked, 
 " That causes no emotion ; it is only astonishing 
 and grandiose ; " and then, again, after muttering 
 away to himself, he observed, ** That is very 
 grand, quite wild, enough to bring the house 
 about one's ears; and what must it be when 
 all the people are playing at once!" 
 
 After dinner he would remain alone in the 
 room with his young friend for an hour, talking 
 uninterruptedly. He brought out engravings and 
 explained them, and talked about " Hernani " 
 and Lamartines Elegies, and the theatre, and 
 pretty girls ; and although he generally saw but 
 little company, he now again invited people to 
 come and hear Felix play, and openly expressed 
 his admiration before them with his favourite 
 word, ''Ganz stupend ! " Then he got together 
 the beauties of Weimar, and exhorted him 
 to pay court to them : '' My dear fellow, you 
 must go to the women and make yourself 
 
 F 2 
 
68 
 
 GOETHE AND MENDELSSOHN. 
 
 [1830 
 
 very sweet to them." When Ottilie asked 
 whether FeHx did not come too often, he 
 grumbled out : '' Why, I am only just begin- 
 ning to have proper talks with him, and he is 
 so clear-headed about his own subjects, that I 
 must learn a great deal from him." He would 
 not hear of his departure, and drew Ottilie 
 aside from the company to a window to say 
 to her, '' You must manage to make him 
 stay ; " and when her persuasions had failed, he 
 came out into the garden himself to add his 
 own, and to assure Felix that there was no 
 hurry for him to go, that he had much 
 more to tell him, and in return wanted to hear 
 a great deal more music ; that Weimar was really 
 the aim of his young friend's journey, and that 
 it was impossible to imagine what he could wish 
 for here that he would find at the ^ad/es d'Mte. 
 Ottilie and Ulrike helped, and reminded him how 
 the old gentleman never pressed people to stay, 
 but so much oftener obliged them to go, and 
 
 '\ 
 
 22ND YEAR] 
 
 A CONVERSATION. 
 
 (") 
 
 how it fell to nobody's lot to have their share 
 of happy days so fixed that they might throw 
 away the certainty of any; . . . adding that 
 they would accompany him to Jena. Who 
 could have resisted such representations? 
 Felix remained, and had every reason not to 
 repent of his decision ; he speaks of the follow- 
 ing day, the ist of June, as the most delightful 
 which he had ever spent there; he tells how, 
 after driving through the park, he found the old 
 gentleman in the best of humours, and how he 
 began talking, and got into one of those conver- 
 sations which one never forgets all one's life. 
 Goethe set out with rallying his young friend 
 about his various passions, great and small, for the 
 beauties of Weimar. "Jenny von Pappenheim," 
 he said,"- "is as beautiful, as uncon.sciously graceful 
 and charming, as a piece of phosphorescent wood 
 or a glow-worm by daylight, which one can't 
 
 * The foUoiving is from my .'ather's unpublished diary. 
 
70 
 
 GOETHE AXD MENDELSSOHN. 
 
 [1830 
 
 22ND YEAR] 
 
 SCOTT. SCHILLER. 
 
 71 
 
 see." Two other girls, the Spiegels, "gave one 
 the feeh-ng of looking at a couple of great 
 
 rose-bushes I had a monstrous one in 
 
 my garden which blossomed magnificently, but 
 when these girls stood in front of it, one could 
 
 see nothing but them." Then he got to 
 
 talking about the " Muette de Portici," the 
 Englishman Stendhal,* and Walter Scott. " Mr. 
 Stendhal is one of the mediocre sort ; he is in- 
 telligent and has a certain amount of know- 
 ledge, but the best and highest he has not got. 
 ' VVaverley ' is Scott's best novel, and contains all 
 
 •Stendhal was a Frenchman, whose real name was Marie-Henri 
 Beyle, that of Stendhal being adopted as a ,wm de piumc. He was 
 born at Grenoble in ,783, subsequently became attached to the 
 household of Napoleon I., and followed the French army in the 
 campaigns of ,8.2-,4. After ,814 he resided at MUan, and devoted 
 h^self to hterature. His chief writings are biographies of Haydn 
 and Mozart (which he translated literally from the " Haydine " 
 of Carpani, and published without acknowledgment under the 
 name of Bombet), of Metastasio and Rossini ,• a History of Paint- 
 mg m Italy, essays, romances, S:c. His writings display great 
 ongmahty and a superior mind, though his inaccuracies are 
 tiequent, and his opinions often startling.— 7>ff«j-. 
 
 \ 
 
 his succeeding works ; without being brilliant, it 
 is sufficiently interesting ; — so is 'The Fair 
 Maid of Perth.' It is amusing to see how 
 Scott always styles himself the 'Author of 
 Waverley.' Iffland began just in the same way 
 with his 'Jägern,' which contains all his good 
 and bad points ; and so did Kotzebue with his 
 ' Menschenhass und Reue/ which to this day 
 makes all the women cry their eyes out, 
 though a man would only scratch his head 
 over it." 
 
 "Schiller," observed Felix, "at any rate did 
 not begin in that manner." 
 
 " Schiller," continued Goethe, " was obliged to 
 make a complete change after ' Don Carlos,' he 
 could not have gone on in that style ; thou Hi 
 even at the present day people are fond of 
 seeing ' The Robbers,' because many of them are 
 still in that same insane and ridiculous state of 
 mind. When I was director of the theatre at 
 Lauchstedt, the students begged me to give ' The 
 
72 
 
 GOETHE AND MENDELSSOHN. 
 
 [i8jo 
 
 Robbers/ but I declined for fear of a disturb- 
 ance ; however, as they promised me on their 
 honour to keep quiet, I said : ' You are 
 deHghtful, charming people, and if you will be 
 very orderly you shall have it/ The house 
 was immensely full, the public quiet as mice, 
 even * Ein freies Leben ' was sung with the 
 greatest gravity ; and as they had behaved so 
 well, and had also brought in some money, I 
 was able the next day to praise them. 
 
 *' Schiller understood what I never could do 
 — namely, how to introduce matters of fact into 
 his works ; while he was writing * Tell,* he read 
 Swiss history, and had maps and drawings and 
 the like hanging up in his room. There was 
 something terrific in his progress ; if you had 
 not seen him for a week, you found him 
 quite changed, and did not know what to make 
 of him for astonishment. He went forward 
 unceasingly till his forty-sixth year, and then 
 came the end. He could have produced two 
 
 ] 
 
 1 
 
 t 
 
 22ND YEAR] SCHHXER AND THE GRAND DUKE. 
 
 73 
 
 tragedies every year; but not more, excepting 
 translations and contributions to the Musen- 
 Almaiiach, and so forth. A hundred carolifis 
 are not to be despised, and he needed them 
 for himself and his wife. He had asked the 
 Duke for a moderate salary, on the agree- 
 ment that it should be doubled as soon as he 
 was unfit for work ; and the Duke gave it very 
 willingly, for he was rather covetous of great 
 men, and in such matters did more in Weimar 
 than any king." 
 
 "He was rewarded for it,'' observed Felix. 
 
 "Yes," said Goethe, ''he cannot be removed 
 from the place which he now occupies in the 
 world's history. He wanted to secure Schuck- 
 mann, and I corresponded with him about it ; and 
 Schlosser also, but I dissuaded him from that, 
 because Schlosser was too unbending and im- 
 movable on his standpoint, as well as somewhat 
 pedantic ; he was my brother-in-law, so you see 
 I did not show much tendency to nepotism. 
 
 I 
 
74 
 
 GOETHE AND MENDELSSOHN. 
 
 [1830 
 
 And so this place became a sort of general 
 focus. Oh if I could but write a fourth volume 
 of my life ! but there's no getting at it, what 
 with botany, and meteorology, and all the other 
 foolish things that no one will ever thank me 
 for. It would be such a history of the year 
 1775, as nobody could know or write as I 
 could. How at that time the nobility began to 
 feel Itself rather eclipsed by the middle class, 
 and had to make exertions so as not to be left 
 behind ; how Liberalism, Jacobinism, and all 
 other inventions of the evil one cropped up ; how 
 one began a new life here, working and produc- 
 ing, and occasionally at the right moment falling 
 in love., and thereby disturbing one's peace of 
 mind; and how the aristocratical spirit of Nicolai 
 and the other Berliners, which was thought a 
 good deal of at that time, had to be taken 
 down by us young men — for, in spite of all our 
 awkwardness, we had plenty of spirit and 
 energy; then there was Schiller's first visit to 
 
 22ND YEAR] GOETHE AND THE YEAR 1775. 
 
 75 
 
 Weimar, when he left it without being noticed 
 by anyone ; and then came Jean Paul, but 
 found the circle already closed ; and after 
 him Bertuch, who was bent upon being prac- 
 tical, and tried to produce everything that 
 could possibly be wanted, and ended by found- 
 ing the * Indiish'ie-komptoir ' ! Yes, that time 
 was like the spring, when everything is burst- 
 ing into life, and one tree stands bare, while 
 another is already in full leaf. So it was 
 
 in 1775!" 
 
 The young artist listened with the live- 
 liest interest to the ardent words in which 
 the old Poet thus recalled his youth and 
 the intellectual spring of 1775. "It was one 
 of those conversations which one can never 
 forget, all one's life." He showed plainly how 
 touched and delighted he was, and when he 
 thanked Goethe, the latter answered : " Well, 
 it's a mere chance ; it all came out quite inci- 
 dentally, called forth by the charm of your 
 
76 
 
 GOETHE AND MENDELSSOHN. 
 
 [1830 
 
 22ND year] 
 
 THE LAST PARTING. 
 
 77 
 
 presence." Then he asked for several of his 
 favourite Mozart pieces, the C minor Fantasia, 
 a Haydn Trio, and a Weber Capriccio, and 
 promised his young friend " something impor- 
 tant" as a parting gift. The next day he gave 
 him a sheet of the autograph of "Faust" inscribed 
 with the following words : " To my dear young 
 friend F. M. B., the powerful and gentle ruler 
 of the piano, as a remembrance of happy May 
 days in 1830. J. W. v. Goethe."^ 
 
 Felix had mentioned a picture of Ostade's 
 representing a peasant family at prayer, which 
 had made a great impression on him in 1821 ; 
 and when he came into the Poet's room on the 
 morning of the 3rd of June to take leave, he 
 found Goethe sitting before a large portfolio 
 looking at this very picture. ** Yes, yes," said 
 the old Poet in a solemn tone, '' the hour 
 has come, and we must see that we keep 
 straight till your return ; but we must not part 
 from one another without a moment's devotion, 
 
 and so let us look at this ' Prayer ' together for a 
 little while.'' " Then he told me that I was to 
 write to him sometimes — ('' Courage ! courage ! 
 I shall do it from here," writes Felix home) — - 
 and then he kissed me, and we drove off to 
 ena. 
 
 Goethe, in a letter to Zelter, gives his own 
 impression of the visit as follows: "Just now, 
 at half-past nine, with the clearest sky and the 
 brightest sunshine, the excellent Felix, having 
 spent a fortnight with us very pleasantly, and 
 enchanted everybody by the perfection and 
 charm of his art, is driving off with Ottilie, 
 Ulrike, and the children, to Jena, there also 
 to delight his friends, and leaves behind him 
 a memory which deserves to be for ever 
 cherished. 
 
 "His coming did me a great deal of good, 
 for my feelings about music are unchanged; I 
 hear it with pleasure, interest and reflection; I 
 love its history, for who can understand any sub- 
 
m 
 
 I 
 
 ^ -i 
 
 78 
 
 GOETHE AND MENDELSSOHN. 
 
 [1830 
 
 ject without thoroughly initiating himself into its 
 origin and progress ? It is a great thing that 
 Felix fully recognizes the value of going through 
 its successive stages, and happily his memory 
 is so good as to furnish him with any number 
 of examples of all kinds. From the Bach period 
 downwards, he has brought Haydn, Mozart, and 
 Gluck to life for me, has given me clear ideas 
 of the great modern masters of technique, and 
 lastly has made me understand his own produc- 
 tions, and given me plenty to think about in 
 himself. He took away with him my warmest 
 blessing.'* 
 
 Goethe sent another earnest request to his 
 departing guest, through Ottilie, that he would 
 write often, and thus ** revive his charming 
 
 o 
 
 presence" amongst them. 
 
 In a letter from Ottilie of the 8th June, we 
 read as follows : *' We feel like people who 
 don't know how to fill up a blank ; or like 
 schoolboys, who find everything excessively 
 
 22ND YEAR] GOETHE'S REGRETS. MUNICH. 
 
 79 
 
 dull after the holidays : in these descriptions I 
 include my papa. You see, dear Felix, what an 
 advantage you have over us ? If you feel a re- 
 action and are tempted to grumble, I am sure you 
 only do it in the most touching sounds, whilst 
 ours buzz round our heads like bats, and don't 
 exactly make us pleasanter. My father sends 
 you word that your stay here, besides giving 
 him great pleasure, was of lasting use to him, 
 as you have made him understand so many 
 thinnrs." 
 
 At Munich Felix mustered courage to write 
 to Goethe himself, thanking him for the ever 
 memorable days which he had enjoyed, and 
 describing the life in Munich, and the artists to 
 whom the Poet had given him introductions : 
 ''Stieler in particular was wonderfully kind and 
 amiable to me. The way in which he spoke 
 of you and yours, the beaming delight which 
 overspread his whole person when he recalled 
 the time he had spent with you, made me at 
 
 I 
 
8o 
 
 GOETHE AND MENDELSSOHN. 
 
 [1830 
 
 22ND YEAR] MUSIC AT BERLIN AND MUNICH. 
 
 81 
 
 once feel specially drawn towards him. He is 
 painting your * Fisher,' and told me that the 
 picture originated partly in his dislike to one 
 which had made a great sensation at the Berlin 
 Exhibition, and in which the subject was 
 treated in far too sensuous a manner. It may 
 be true, but I don't know how he is to succeed 
 in entirely avoiding the difficulty, for if you 
 are to have the figure of a woman rising fresh 
 from the water, and at the same time sineinpf 
 and speaking in a lovely way, she must be 
 charming, and the Fisherman to whom she 
 beckons must be a beautiful graceful youth ; 
 whereas his picture seems to me to be based 
 on quite another idea. But as yet it is only 
 sketched-in, and at any rate the head of the 
 nymph is already so graceful and pretty that 
 she is sure to give universal pleasure. Stieler 
 has also just finished a portrait for the King's 
 private collection of beauties, and is per- 
 petually looking about amongst the Munich 
 
 girls for new models. He is delighted with 
 this commission, and no wonder, for the ladies 
 pay him no end of attention, and would give 
 anything to please him so that he may give 
 them the prize, and pick them out as the most 
 beautiful. 
 
 ** Music is very much run after here, and 
 there is plenty of it, but it seems to me that 
 almost everything makes an impression in this 
 place, and that the impression does not last. 
 It is most amusing to see the difference between 
 a Munich and a Berlin musical party. At 
 Berlin, when a piece of music comes to an 
 end, the whole company sits in solemn silence, 
 each one considering what his opinion is to be, 
 nobody giving a sign of applause or pleasure, 
 and all the while the performer is in the most 
 pamful embarrassment, not knowing whether, 
 and in what spirit, he has been listened to. 
 And yet, afterwards, he often finds people who' 
 have given all their attention, and been very 
 
82 
 
 GOETHE AND MENDELSSOHN. 
 
 [1831 
 
 23RD year] 
 
 MUNICH. ROME. 
 
 83 
 
 M 
 
 deeply moved, though outwardly appearing so 
 cold and indifferent. Here, on the contrary, it 
 is great fun playing at a party, because the 
 people can't help talking every minute about 
 what they like ; sometimes even they begin 
 clapping and applauding in the middle of a 
 piece ; and it is not at all uncommon, when one 
 gets up from playing, to find that everybody 
 has moved, because sometimes all of a sudden 
 they want to come and watch one's fingers, 
 and stand all round the piano, or some one 
 wishes to make an observation to some one 
 else, and goes and sits down by him and 
 talks. Afterwards they overwhelm you with 
 compliments and kindness ; but I don't know 
 whether I should not be afraid that, after a 
 day or two, much of the vividness of the 
 impression would fade.* 
 
 * This contrast between North and South Germany also struck 
 Schumann. He says in one of his papers {Gesammelte Schriften^ 
 iii. 233), apropos to Liszt's reception at Dresden, " do not know 
 the applause-thermometer of the Dresden public well enough to 
 
 " The Opera is supplied in the amplest manner, 
 and yet does not produce anything out of the 
 common way, because there is no leading spirit 
 to direct the whole thing. Schechner, for ex- 
 ample, is one of the most remarkable singers 
 we have ; but because they praise her good 
 points up to the skies, and pass over her 
 failings, she is accustoming herself, by degrees, 
 to all sorts of mannerisms. It seems moreover 
 to be thought bon ton to abuse the opera and 
 the theatre, and to pay much attention to the 
 critics, who try to earn their scanty daily bread 
 by scoffing and sneering; this again discourages 
 the actors, the bitterness increases on both 
 sides, and thus it arises that there is seldom 
 much pleasure or real enjoyment to be had at 
 the theatre." 
 
 Felix's second letter to Goethe is dated '' Rome, 
 
 judge of the impression he produced. Of all Germans the Viennese 
 spare their hands least, and in their idolatry have been known to 
 clap till they split their gloves — but in North Germany it is dif- 
 ferent." 
 
 G 2 
 
84 
 
 GOETHE AND MENDELSSOHN. 
 
 [1831 
 
 23RD year] 
 
 BARBARISM AT ROME. 
 
 85 
 
 March the 5th, 183 1," and gives a Hvely and 
 amusing sketch of artistic life in the Eternal 
 City. '' A few German artists are to be seen 
 with long hair and moustaches, turned down 
 collars, old-fashioned German coats, tobacco- 
 pipes, and bull-dogs. It does not seem as if 
 the great masters, or the desire to learn, had 
 anything to do with their coming here. In 
 their opinion Raphael is weak, and Titian 
 merely a good colourist." 
 
 '' Niebuhr," remarked Goethe, when telling 
 Eckermann* about this letter from Felix, *'was 
 right when he predicted a time of barbarism ; 
 it is here already, we are in the midst of it, 
 for in what else does barbarism consist but 
 in not recognizing what is really good ? " 
 
 Felix s description of the Carnival, the election 
 of the new Pope, the Revolution that broke out 
 immediately afterwards, the courageous behaviour 
 of Horace Vernet, and the pitiable cowardice of 
 
 * Conversation of March 22nd, 1831. 
 
 the German painters, gave the Poet occasion to 
 speak of the " mental perversion which origi- 
 nating forty years before in a few individuals 
 had now pervaded the German artists. Their 
 doctrine was, that the main things necessary 
 to enable an artist to equal the greatest, 
 were piety and genius. Such a doctrine was 
 very insinuating, and was eagerly caught at; 
 for no learning is necessary to make one 
 pious, and genius everybody inherits from his 
 mother. It is sufficient to utter something 
 which flatters self-conceit and indolence, for it 
 to be sure of a favourable reception with the 
 public." 
 
 By this '' mental infection " Felix was in no 
 danger of being attacked. 
 
 ** Before I say anything else," writes Goethe 
 to Zelter, " I must tell you that I have got 
 a most charming and detailed letter from 
 Felix, dated Rome, March the 5th, giving a 
 delightful account of the excellent fellow. He 
 
86 
 
 GOETHE AND MENDELSSOHN. 
 
 [1831 
 
 .23RD year] 
 
 WALPURGIS night: 
 
 87 
 
 Hl 
 
 I! 
 
 If 
 
 will no doubt give the same, in an equally 
 modest spirit, to his parents and his Berlin 
 friends.* It is not necessary to be anxious 
 about him any longer ; his talents, like a 
 beautiful swimming-belt, will bear him safely 
 even through the waves and breakers of this 
 alarming barbarism." 
 
 Thus did Goethes warm sympathy accom- 
 pany his young friend on his wanderings. The 
 Poet was quite angry with his father for not 
 allowing him, after all his ready compliance, 
 to extend his journey to Sicily, as he wished to 
 do. ** Italy without Sicily does not leave a 
 complete image on the mind. It is a very 
 great .mistake of the Herr Papa not to send 
 our good Felix to Sicily, for now he will 
 come away with an unsatisfied longing." 
 
 Felix had long cherished the idea of com- 
 posing Goethe's ''Walpurgisnacht;" on leaving 
 Vienna he had begun to work at it, and 
 
 * See the letters of March 8th, 15th, «SlC. in the " Reisebriefe." 
 
 managed to finish it during his Italian jour- 
 ney, in spite of the difficulty of the subject. 
 Goethe expressed his approbation and pleasure 
 on hearing that his young friend had undertaken 
 what Zelter had attempted in vain, and in the 
 following words sketched out for him the funda- 
 mental ideas of the poem : — *' The principles on 
 which this poem is based are symbolic in the 
 highest sense of the word. For in the history 
 of the world, it must continually recur that an 
 ancient, tried, established, and tranquillizing order 
 of things will be forced aside, displaced, thwarted, 
 and, if not annihilated, at least pent up within 
 the narrowest possible limits by rising inno- 
 vations. The intermediate period, when the 
 opposition of hatred is still possible and prac- 
 ticable, is forcibly represented in this poem, and 
 the flames of a joyful and undisturbed enthusi- 
 asm once more blaze high in brilliant light." 
 
 During his return from Italy Felix gave 
 a more lengthened and detailed description 
 
M 
 
 i\\ 
 
 88 
 
 GOETHE AND MENDELSSOHN. 
 
 [1831 
 
 23RD year] 
 
 SWITZERLAND. 
 
 89 
 
 n 
 
 of his travels in Switzerland. Writing to 
 Goethe from Lucerne on the 28th of Aueust, 
 1 83 1, he says:* ** I could not leave out Switz- 
 erland, which has always been my favourite 
 country. T shall never forget this time that I 
 have spent roaming about the mountains on 
 foot, all alone, without knowing a creature, and 
 thinking of nothing but the new and wonder- 
 fully beautiful things that burst upon me every 
 moment. 
 
 ** I came from the land of bright skies and 
 warmth ; but Switzerland gave me a very differ- 
 ent reception : I found rain and storms and mist, 
 and on the mountains often had to go through 
 snowstorms. But somehow or other, I rather 
 liked it; and occasionally, when the great black 
 rocky peaks emerge from the clouds, or a whole 
 
 * Through the kindness of Professor Mendelssohn, I am enabled 
 to insert the whole of this letter, of which in the original he 
 has only given portions. The autograph appears to have suffered 
 much bad usage ; it contains at present neither signature, address, 
 nor date, and it was only by a minute and careful comparison that 
 its date could be fixed with certainty. — Translator, 
 
 reach of country seems to burst into sunshine 
 out of the midst of the fog, it is quite 
 glorious. No amount of bad weather could 
 stop me from climbing about as much as pos- 
 sible ; sometimes the guide refused to go with 
 me, often I could not see anything at all, but 
 still I did what I could, and when a fine day 
 came at last, it was a double pleasure. Here, 
 Nature seems to make even a grander im- 
 pression on me than elsewhere, for I am more 
 completely surrounded by her, and the whole 
 country and people depend entirely and solely 
 upon her. 
 
 *' You must have heard of the terrible inun- 
 dations and storms in the Bernese Oberland ; 
 I was there just at the time, and it was awful 
 to see how everything connected with human 
 beings, even the most durable things, — streets, 
 bridges, meadows and houses, — could so easily 
 disappear in a moment, without leaving a trace 
 — as if they had never existed. Three days 
 
 ^lii 
 
L 
 
 lili 
 
 90 
 
 GOETHE AND MENDELSSOHN. 
 
 [1831 
 
 afterwards Nature was all calm and smiling 
 again, as if nothing had happened, and the 
 ipeople at work to restore order as far as 
 possible. I was just then on my way to the 
 lake of Thun, without a guide, and quite alone. 
 Since that day when you told me about your 
 observations on the weather and on clouds, I 
 have taken a special interest in the subject, 
 and paid more attention to what was going on 
 above me. I could distinctly see the gradual 
 way in which the storm came on ; the clouds 
 had been gathering for two days, and at last, 
 on the evening of the 7th, a great thunder- 
 storm burst forth, and went on the whole 
 night, with continual rain. In the morning it 
 looked as if clouds were coming down in- 
 stead of rain. I never saw clouds lie so 
 low before ; they had stationed themselves all 
 about round the bases of the mountains, far 
 down into the valleys, quite thick and white, 
 with overhead nothing but black mist. It did 
 
 23RD year] 
 
 THE STORMS. 
 
 91 
 
 not rain at all for a little while, till the lower 
 clouds began to float up and down, and then 
 the rain went on again for that whole day and 
 the following night; but the actual masses of 
 clouds and mist only collected on the third 
 morning, the 9th, and then the whole breadth 
 of the horizon and the sky was completely 
 filled with them. Storms generally come up 
 with a clear sky ; but in this case the masses of 
 clouds piled themselves one upon another, and 
 were driven across country from the plains in 
 the north-west, right into the mountains on the 
 south-east. It was impossible to distinguish 
 the opposite side of the lake. In the intervals, 
 when one layer of clouds had passed, it stopped 
 raining, but in another minute it began pouring 
 down out of the next one with indescribable 
 fury. The footpaths were soon under water, 
 streams were running across the roads in every 
 direction, and the mountain-torrents came rush- 
 ing down like mad, quite dark-brown, so that 
 
■l 
 
 i\ 
 
 r 
 
 M 
 
 ill 
 
 
 92 
 
 GOETHE AND MENDELSSOHN. 
 
 [1831 
 
 they looked like mere dark earth boih'ng up out 
 of the river-bed, and being dashed into the lake ; 
 — you could see the dark streams far out upon 
 the clear water. The smaller bridges had 
 already been all carried off in the morning, the 
 piers and arches of the large stone ones were 
 also torn away, and one forest-stream brought 
 a lot of furniture and household eoods into 
 the lake with it, without anybody's knowing 
 what houses had been demolished. Some 
 days afterwards, when the rain had ceased, 
 and I came into the valley of Lauterbrunnen, 
 the broad high road had completely vanished, 
 and the ground where it had been was no- 
 thing but a heap of shingle and sand and 
 great blocks of stone, for fully a mile. 
 The same damage had been done on that 
 day almost all over the country, on the St. 
 Gothard, at Unterwaiden, Glarus, &c. Some- 
 times it was difficult to get along, and one had 
 to go over the mountains, because the water 
 
 I 
 
 23RD YEAR] ENGELBERG. GOETHE'S LAST BIRTHDAY. 93 
 
 left no room in the valleys, — but that only 
 made it all the finer on the mountains. 
 
 '' I spent last week at Engelberg, in an 
 Unterwald monastery several thousand feet 
 above the sea, perfectly secluded, where I found 
 a nice organ and pleasant monks. They had 
 never heard of Sebastian Bach, so that a few of 
 his fugues on the organ were a complete novelty 
 to them ; but still they were pleased, and on 
 the saint's day (St. Bartholomew's) I had to 
 play the organ for them, accompany the Mass, 
 and make the Responses. It was the first 
 time on this journey that I had got hold of 
 a decent organ, for in Italy I didn't find a 
 single one in good order. Besides this, the 
 monks had a nice library ; and as neither 
 politics, strangers, nor newspapers ever enter 
 the valley, I had a pleasant time of it 
 there. 
 
 '' At last the weather cleared up again, and 
 to-day it is as if Nature herself wanted to cele- 
 
94 
 
 GOETHE AND MENDELSSOHN. 
 
 [1831 
 
 23RD YEAR] SCHILLER'S TELL AT LUCERNE. 
 
 95 
 
 brate this great occasion.*'^ The sky is of the 
 brightest blue, the mountains have decked 
 themselves in their most brilliant colours, the 
 landscape looks gay and festal, — all seem to 
 know what an important day it is. 
 
 '' I have just come from the theatre, — the 
 only one in all Switzerland, — and have been 
 hearing Schiller's 'William Tell.' This being 
 the time of the Diet, the Swiss depart from 
 their custom of preferring no theatre to a 
 bad one. And as it is the only one in the 
 country, you must allow me to say a few 
 words about so national a performance. The 
 whole troupe numbers about ten persons, and 
 the stage is the size and height of a small 
 room ; but still they wanted to give the 
 crowded scenes. So two men in pointed 
 hats represented Gessler's army, two others 
 in round hats the Swiss country people, and 
 the subordinate parts were done away with. 
 
 * Goethe's last birthday. 
 
 i\ 
 
 Whenever there was anything important to say, 
 they left it out without compunction, and coolly 
 went on with the next words in their parts 
 without any connection, and occasionally with 
 the most comic effect. Some of the actors 
 had only learnt the drift of their parts, and 
 made their own verses on the spot; Gessler's 
 envoy, with the first beat, knocked the drum 
 out of his button-hole on to the ground, and 
 could not fasten it on again, to the great de- 
 light of the liberty-loving public, who laughed 
 heartily at the tyrant's slave; but it was im- 
 possible to kill the piece entirely, and 
 even with all this it was effective. When the 
 familiar names and places occurred, which one 
 had seen the day before, the people were 
 in raptures, nudging one another and pointing 
 to the pasteboard lake, which they could 
 see far better in the reality by walking out 
 of their houses. 
 
 '' But it was Gessler who gave the greatest 
 
96 
 
 GOETHE AND MENDELSSOHN. 
 
 [183 1 
 
 delight, because he behaved so uproariously, 
 and ranted and raged in such furious style; 
 his dishevelled beard, red nose, and cap all 
 awry, made him look just like a drunken work- 
 man ; the whole thing was quite Arcadian and 
 primitive, like the infancy of the drama." 
 
 Before this, in the Engelberg valley, Felix 
 had been regaling himself with reading '' Tell," 
 and had called to mind Goethe's remark that 
 *' Schiller could have produced two such tragedies 
 every year." '' This craftsmanlike expression 
 suddenly struck me very forcibly when reading 
 the play in all its freshness and life, and such 
 activity appeared to me so prodigiously grand 
 that it made me feel as if I had never yet 
 done anything properly all my life. Everything 
 of mine is so fragmentary, and I feel as if I too 
 must some day produce something." 
 
 The performance at Lucerne must have re- 
 called afresh the same remarkable conversation 
 about Schiller. It is well known what a strong 
 
 I 
 
 23RD YEAR] GOETHE'S PROJECTED TELL. 
 
 97 
 
 attraction the story had for Goethe, and how, in 
 1797, when excited by that incomparable land- 
 scape, he seriously occupied himself with the idea 
 of writing an epic poem on '' Tell," though he 
 subsequently abandoned the subject to his friend. 
 '' I already hummed over my hexameters at lei- 
 sure moments.* The subject engrossed me so 
 completely that I could see the lake in the calm 
 moonlight, with the mists lighting up the hollows 
 of the mountains, as well as in the loveliest 
 morning sunlight, with the woods and meadows 
 breaking out into jubilant life. Then I brought 
 m a thunder-storm, sweeping out of the ravines 
 upon the lake. Nor was there any lack of 
 nightly stillness, or of secret meetings by bridge 
 and glen." 
 
 And with this glorious landscape as a back- 
 ground, what a contrast do Goethe's characters 
 present to Schiller's !— his Tell, a porter wander- 
 ing through the canton, a self-satisfied, childish 
 
 * Conversation with Eckermann, May 6th, 1827. 
 
 H 
 
98 
 
 GOETHE AND MENDELSSOHN. 
 
 [1831 
 
 unconscious hero : his Gessler, a tyrant of the 
 comfortable order, who " does a good action noW 
 and then, by way of a joke;^' and by the side 
 of these more passive figures the real characters 
 of the liberators, the Flirsts, Stauffachers, and 
 Winkelrieds ! 
 
 The contrast between the two greatest German 
 poets is seen in the characteristic variety of 
 their treatment of the same material. Goethe 
 afterwards toned down, or omitted, several 
 forcible traits which Schiller had wished to 
 introduce. " I know well the difficulty I had 
 with him about ' Tell,' when he wanted to 
 make Gessler pick an apple straight from the 
 tree, and shoot it off the boy's head. This 
 was quite against my principles, and I per- 
 suaded him at least to suggest some motive 
 for such cruelty, by making Tell's son boast 
 that his father was so good a marksman that 
 he could strike an apple from a tree at a 
 hundred paces. Schiller did not at first take 
 
 23RD YEAR] SCHILLER'S OVER-EXERTION. 
 
 99 
 
 to the idea, though finally he yielded to my 
 representations and entreaties, and did what 
 I advised. '^ 
 
 Though it was with real pleasure, and no en- 
 vious feelings, that Goethe watched the labours 
 of his literary friend, he was clearly conscious 
 how entirely opposite were his own sentiments. 
 How telling, for example, is his remark to Felix 
 in reference to Schiller's " terrific progress," and 
 that it was ''impossible for him to sustain it 
 beyond his forty-sixth year " ! To Eckermann 
 he further*" expressed himself to the effect that 
 in his youth Schiller was too much influenced 
 by physical freedom, and that in maturer life, 
 when he had had enough of physical freedom, 
 he drifted into ideal freedom. ''And I miVht 
 almost say that this idea killed him. For it 
 caused him to make demands on his physical 
 nature which were too much for his powers. 
 He used to force himself to work for days and 
 
 * Conversation of 1 8th January, 1827. 
 
 H 2 
 
ICX) 
 
 GOETHE AND MENDELSSOHN. 
 
 [1832 
 
 24TH year] 
 
 DEATH OF GOETHE. 
 
 lOI 
 
 weeks when he was not well, with the view 
 of making his powers obey him, and be at his 
 command at all times. . . . 
 
 *' All those passages in his writings, which 
 some wiseacres declare to be inconsistent, I would 
 call ' pathological ' passages, because they were 
 written on days when he had not the power to 
 discover his real, true motives. I have all pos- 
 sible respect for the ' categorical imperative,' and 
 know how much good may proceed from it ; but 
 one must not push it too far, for then the idea 
 of ideal freedom can lead to no good." In 
 these warnings against the exaggeration of the 
 ** categorical imperative," and this verdict on 
 his friend, so restlessly indefatigable, so early 
 snatched away, we see the perfect and healthy 
 realism of Goethe's nature. 
 
 To Felix, these words of Goethe's supplied a 
 fresh spur to increased activity : '' There is an 
 enormous deal to do in the world," he writes, 
 '' and I will be industrious. To-day I under- 
 
 stand for the first time what deep meanincr 
 there is in Goethe's words about Schiller, and 
 feel that I must bestir myself." 
 
 From Switzerland he travelled by way of 
 Munich to Paris, where he renewed the im- 
 pressions of the summer of 1825. '^ The poli- 
 tical life there," writes Zelter to Goethe, -no 
 less than the artistic, seems only to strengthen 
 Felix's love for his own country." 
 
 It was in Paris that Felix received the news 
 of the death* of the poet who had shown him 
 the ideal of German Art. ''How poor one 
 feels after such a loss as Goethe's!" he writes 
 to his parents on the 31st of March. ''How 
 it changes the aspect of the whole country! 
 It is a piece of news that will always be 
 brought back to me by the name of Paris, and 
 the impression of it is one which no kindness, 
 nor any of the bustle and excitement of the 
 gay life here, can ever efface." 
 
 * March 22, 1832. 
 
I02 
 
 GOETHE AND MENDELSSOHN. 
 
 [183: 
 
 All great minds shared the depression of the 
 young artist, who had enjoyed the advantage 
 of Goethe's society. 
 
 Zelter, drawn by a mysterious and mighty 
 loncrincr, followed his friend to the grave a few 
 weeks later. With Goethe no longer there 
 to look up to, the world seemed desolate 
 and empty. Ml missed the peaceful harmony, 
 and the genial brightness, which had kept 
 every antagonism within bounds, and had 
 shed a light on life. 
 
 APPENDIX. 
 
PLANS FOR A SWISS JOURNEY. 
 
 105 
 
 APPENDIX. 
 
 The following letters have not yet been pub- 
 lished in any permanent shape ; and though 
 not immediately connected with the period of 
 Mendelssohn's life which forms the subject of 
 the previous portion of this volume, they 
 cannot fail to be valuable to all who take an 
 interest in his character and his career. 
 
 (i.j To Herr Gustav Preusser, Leipzig.* 
 
 (Translation.) 
 
 London, 2^th yum\ 1842. 
 
 My dear Herr Preusser, 
 
 Yesterday I received from my brother in Berlin 
 the good news that I need not be there in the begin- 
 ning of August, so that on our side there is nothing 
 to interfere with the charming plans for the summer. 
 
 * From the original in the possession of Madame Preusser. 
 
 ^A 
 
 r, 
 
 How will it be about the Swiss journey ? I might 
 really end my letter here, and wait impatiently for 
 your answer, for everything else is contained in that 
 question. How splendid it would be, and what a 
 delight it would be for us, if our lovely plan could 
 really be crowned in this most lovely way. But all 
 this we have already talked over, and you know it, 
 and why should I repeat it .? If you can possibly 
 manage it, I do hope you will not deny us, and I 
 may add yourself too, this pleasure. And even if you 
 had to make sacrifices for it yourself, I should like 
 to worry you into it, provided only it lies within the 
 limits of possibility ; for such a journey is a lasting 
 and ever new pleasure for one's whole lifetime, and 
 you may perhaps never again have such a summer 
 for it, or such glorious bright weather. To be sure 
 you might find pleasanter travelling companions, but 
 certainly none who would be so glad to have you, 
 and to whom you could give greater pleasure by your 
 presence ; and I can promise you that we should 
 get on splendidly together. Our present idea is to 
 leave Frankfort towards the end of July, and spend 
 August in Switzerland. Of course we would gladly 
 change our plans if it should not suit you. Only you 
 must be quick, and tell me what you think about it. 
 I should like best if you merely wrote "Yes!" addressed 
 
 I. 
 
io6 
 
 LETTERS. 
 
 LIFE AT FRANKFORT. 
 
 107 
 
 to Frankfort, to the Souchay's house, at the "Fahrthor." 
 What a treat, what a joy that would be for us ! 
 
 My wife will add a few words to your letter; I find 
 it more difficult than ever to write letters from here, 
 for we lead such a curious and exciting life, and the 
 English are so mad about me this time (I mean they 
 are so kind), that I often come home in the evening 
 quite giddy, and don't know where my head is. But 
 we will talk about all this, please God, on some 
 meadow or beautiful mountain. And now give my 
 love to the whole dear, kind family, and especially 
 to my two very dear nieces (the whole letter is 
 addressed to your wife as well), and to Caroline, and 
 Louise, and quite particularly to my darling godchild, 
 and, in fact, to the whole house (including the front 
 door, and the bell that I know so intimately) ; and 
 give Schleinitz and David a hundred thousand remem- 
 brances from me, and tell them that I often long to 
 see them, and that they might have written to me 
 once, and so might I to them, — and pray forgive these 
 hasty lines. And think it over, and if it lies within 
 the limits of possibility come with us for a lovely 
 trip into that lovely country. 
 
 Ever yours, fondly and faithfully, 
 
 Fellx Mendelssohn Bartholdy, 
 
 (2.) To his Mother,"^ 
 
 (Translation. ) 
 
 Frankfort, July 19, 1842. 
 
 Dear little Mother, 
 
 Here we are again, all well and happy, after 
 a delightful journey. We found the dear children in 
 the best health and spirits, and your dear letter reports 
 the same of you all. One lovely day follows another 
 and brings the same beautiful blue sky and warm 
 balmy air. If only one knew how to be grateful 
 enough for all such great pleasures ! It is so sweet to 
 be here in Frankfort again, in the midst of so many 
 dear friends and relations, and such a lovely neighbour- 
 hood. Every morning at six I go for a walk towards 
 the Darmstadt Observatory, and when I come back 
 the children are just up, and all at breakfast, and then 
 the thought of Paul and Albertine and Switzerland does 
 not depress me so very much. If God would but 
 fulfil all our pleasant prospects, and take our rejoicings 
 for past and future ones as thanks! Cecile made up 
 her mind this morning to go with me, and leave 
 the children here with her mother, who enjoys having 
 them above all things. I know that Cecile will repent 
 
 * From the original, published by Dr. Karl Mendelssohn in 
 Ueber Land und Meer iox 1871, No. 14. 
 
 
 ■niiifffiA»!!'"''^" 
 
h f 
 
 io8 
 
 LETTERS. 
 
 1 
 
 of it often enough before it comes to the point ; but 
 I hope I may be able to keep her up to the mark, 
 and the Pauls will do their part also. 
 
 Yesterday evening, just as I was driving to the Miihl- 
 derg with Veit and Bernus, we met Hiller and his 
 wife ; on the steamer we travelled with Madame 
 Matthieu, then with Herr and Madame Rubens ; at 
 Mainz we had a chat with the Woringens, who went 
 with us to the railway station (Prince Frederic — on 
 his way back from Rome — detained us so long on the 
 road that we very nearly came too late) ; then there 
 were Schlemmer and his wife fresh from Ems, Julie 
 Schunk-Jcanrenaud (much better) from Dresden, and 
 Rosenhain from Paris, Benecke senior from London, 
 Ditto junior from his property, — all meeting at the 
 gate ; such is our life every day ! 
 
 I must tell you a little more about London and 
 the days after our trip to Manchester. I could not 
 make up my mind to go to Dublin because of the 
 twelve hours' sea journey, the thought of which crushed 
 all my ideas. We spent tw'o peaceful days in Man- 
 chester wqth the uncles and aunts, but as soon as we 
 got back to London the whirl began again. I shall 
 tell you all about it verbally — how disgracefully Cecile 
 carried on with Sir Edward Bulwer, and how old Rogers 
 (Sam Rogers, you know) squeezed her hand and begged 
 
 '^mtt 
 
 ■ON— ««p ^t m« '<0^m m ä m>' " 
 
 LONDON SOCIETY IN 1842. 
 
 109 
 
 her to bring up her children to be as charming as 
 herself, and to speak English as well (this made a 
 sensation), and how Mr. Roebuck came in (ask Dirichlet 
 who he is), — a propos, at Aix-la-Chapelle we paid the 
 Meyers a proper visit, but at Cologne we could only 
 stop twenty minutes, so were unable to look up 
 Louise Hensel, — and how w^e played charades at the 
 Bcneckes', and Klingeinann acted a West India planter 
 and Sir Walter Scott, and how the Directors of the 
 Philharmonic gave me a fish dinner at Greenwich with 
 whitebait and speeches, and how they sung my Anti- 
 gone music at the Moscheles' (I must imitate that on 
 the piano for your benefit — I see Beckchen laughing 
 already : but why does she never write ?) — and how 
 I waited for Herr von Massow at the Brunswick Hotel, 
 and spoke to Herr Abeken at the Bunsens' — and 
 how we had a great dinner at the Bunsens' — all this 
 I shall describe minutely when I see you ; but I must 
 at once tell you all the details of my last visit at 
 Buckingham Palace. I know how it will amuse you, 
 dear mother, and me too. 
 
 It is, as Grahl says, the one really pleasant and 
 thoroughly comfortable English house, where one feels 
 ä son aise. Of course I do know a few others, but 
 yet on the whole I agree with him. Joking apart. 
 Prince Albert had asked me to go to him on Saturday 
 
no 
 
 LETTERS. 
 
 at two o'clock, so that I mi\^ht try his or^an before I 
 left England ; I found him alone, and as we were talk- 
 ing away the Queen came in, also alone, in a simple 
 morning dress. She said she was obliged to leave 
 for Claremont in an hour, and then suddenly inter- 
 rupting herself exclaimed, " But goodness, what a 
 confusion ! " for the wind had littered the whole room, 
 and even the pedals of the organ (which, by the way, 
 made a very pretty feature in the room), with leaves 
 of music from a large portfolio that lay open. As 
 she spoke she knelt down and began picking up the 
 music ; Prince Albert helped, and I too was not idle. 
 Then Prince Albert proceeded to explain the stops to 
 me, and she said that she would meanwhile put things 
 straight. I begged that the Prince would first play 
 me something, so that, as I said, I might boast about 
 it in Germany ; and he played a Choral, by heart, 
 with the pedals, so charmingly and clearly and cor- 
 rectly that it would have done credit to any professional, 
 and the Queen, having finished her work, came and 
 sat by him and listened and looked pleased. Then it 
 was my turn, and I began my chorus from "'St. Paul" 
 — " How lovely are the messengers." Before I got to 
 the end of the first verse they both joined in the chorus, 
 and all the time Prince Albert managed the .stops for 
 me so cleverly — first a flute, at the forte the great 
 
 tmrnm 
 
 «I » » I' I 
 
 AT BUCKINGHAM PALACE. 
 
 Ill 
 
 organ, at the D major part the whole, then he made 
 a lovely diminuendo with the stops, and so on to the 
 end of the piece, and all by heart — that I was really 
 quite enchanted. Then the young Prince of Gotha 
 came in, and there was more chatting ; and the Queen 
 asked if I had written any new songs, and she said 
 she was very fond of singing my published ones. " You 
 should sing one to him," said Prince Albert ; and after 
 a little begging, she said she would try the '' Frühlings- 
 lied"* in B flat— "if it is still here," she added, "for 
 all my music is packed up for Claremont." Prince 
 Albert went to look for it, but came back, saying it 
 was already packed. " But one might perhaps unpack 
 
 it," said I. *' We must send for Lady ," she said 
 
 (I did not catch the name). So the bell was rung, 
 and the servants were sent after it, but without success ; 
 and at last the Oueen went herself, and while she 
 was gone Prince Albert said to me, " She begs you 
 will accept this present as a remembrance," and gave 
 me a little case with a beautiful ring, on which is 
 engraved "V. R. 1842." Then the Queen came back 
 
 and said, " Lady is gone, and has taken all my 
 
 things with her. It really is most annoying." (You 
 can't think how that amused me.) I then begged 
 that I might not be made to sufler for the accident, 
 
 * Op. 47, No. 3. 
 
y 
 
 112 
 
 LETTERS. 
 
 and hoped she would sing another song. After some 
 consultation with her husband he said, "she will sing 
 you something of Gluck's." Meantime the Princess 
 of Gotha had come in, and we five proceeded through 
 various corridors and rooms to the Queen's sitting- 
 room, where there was a gigantic rocking-horse standing 
 near the sofa, and two big bird-cages, and pictures on 
 the walls, and splendidly bound books on the table, 
 and music on the piano. The Duchess of Kent came 
 in too, and while they were all talking I rummaged 
 about amongst the music, and soon discovered my 
 first set of songs. So, of course, I begged her rather 
 to sing one of those than the Gluck, to which she 
 very kindly consented ; and which did she choose ? — 
 "Schöner und schöner schmückt sich!"* sung it quite 
 charmingly in strict time and tune, and with very 
 good execution. Only in the line " Der Prosa Lasten 
 und Müh," where it goes down to D, and then comes 
 up again so closely, she sang D sharp each time, 
 and as I gave her the note the two first times, the 
 last time she sang D, and there it ought to have been 
 D sharp. But with the exception of this little mis- 
 take it was really charming, and the last long G I have 
 never heard better, or purer, or more natural from any 
 amateur. Then I was obliged to confess that Fanny 
 
 »"Italien"— Op. 8, No. 3. 
 
 i 
 
 THE QUEEN'S SINGING. 
 
 113 
 
 had written the song (which I found very hard, but 
 pride must have a fall), and beg her to sing one of 
 my own also. If I would give her plenty of help 
 she would gladly try, she said, and then she sang the 
 Pilgerspruch,* " Lass dich nur," really quite faultlessly, 
 and with charming feeling and expression. I thought 
 to myself, one must not pay too many compliments 
 on such an occasion, so I merely thanked her a great 
 many times ; upon which she said, " Oh, if only I had 
 not been so frightened ; generally I have such long 
 breath." ^Then I praised her heartily and with the 
 best conscience in the world ; for just that part with 
 the long C at the close she had done so well, taking 
 it and the three notes next to it all in the same 
 breath, as one seldom hears it done — and therefore 
 it amused me doubly that she herself should have 
 begun about it. After this Prince Albert sang the 
 Aerndte-lied,-f" " Es ist ein Schnitter ; " and then he 
 said I must play him something before I went, and 
 o-ave me as themes the Choral which he had played 
 on the organ and the song he had just sung. If 
 everything had gone as usual, I ought to have im- 
 provised dreadfully badly, for it is almost always 
 so with me when I want it to go well, and then I 
 should have gone away vexed with the whole morn- 
 
 * Op. 8, No. 5. 
 
 t Op. 8, No. 4. 
 
114 
 
 LETTERS. 
 
 ing. But, just as if I were to keep nothing but the 
 pleasantest, most charming recollection of it, I never 
 improvised better; I was in the best mood for it and 
 played a long time, and enjoyed it myself so that 
 besides the two themes I brought in the song that 
 the Oueen had sung, naturally enough ; and it all 
 went off so easily that I would gladly not have stopped ; 
 and they followed me with so much intelligence and 
 attention that I felt more at my ease than I ever did 
 in improvising to an audience. She said several times she 
 hoped I would soon come to England again and pay 
 them a visit, and then I took leave, and down below 
 I saw the beautiful carriages waiting, with their scarlet 
 outriders, and in a quarter of an hour the flag was 
 lowered, and the Court Circular announced, *' Her 
 Majesty left the palace at twenty minutes past three ; " 
 and I went off in the rain to the Klingemanns, and 
 had the double pleasure of pouring out all my news 
 to them and to Cecile.— It was a happy morning. 
 
 I must add that I begged the Queen to allow me 
 to dedicate my A minor symphony to her, as that 
 had really been the inducement of my journey, and 
 because the English name on the Scotch piece would 
 look doubly well. Alfo, I forgot to tell you how just 
 as she was going to begin to sing she said, " But the 
 parrot must go out first, or he will screecli louder 
 
 
 CROSSING TO OSTEND. 
 
 "5 
 
 than I shall sing ; " upon which Prince Albert rang the 
 bell, and the Prince of Gotha said he would carry it 
 out, and I said "Allow me," and carried the great cage 
 out, to the astonishment of the servants. There is 
 plenty more to say when we meet ; but if Dirichlet 
 goes and thinks me a little aristocrat because of this 
 long history, I swear I am more radical than ever, 
 and call to witness Grote, Roebuck, and you, my 
 dear little mother, who will be as much amused by 
 all these details as I am myself 
 
 As I am in the midst of descriptions I must speak 
 of one thing more — how after a splendid crossing we 
 heard in the night that we were only half an hour from 
 Ostend, and I went up on deck and found a calm grey 
 sea, morning just breaking, lovely stars, and the steamer 
 making straight for the lighthouse, which gleamed out 
 all white and bright, with a couple of red and yellow 
 lights down below to show where the pier was ; and 
 England lay behind us, and the Continent, which is 
 also beautiful, before us. 
 
 On the Rhine we unhappily received the terrible 
 news from France. No doubt you also, like all of us, 
 were deeply grieved at the young man's * sad fate. 
 
 * Louis Philippe's eldest son, the Duke of Orleans, killed at 
 Neuilly by the overturning of his carriage, on the 13th of July, 
 1842. 
 
 I 2 
 
i. 
 
 ii6 
 
 LETTERS. 
 
 With James I did not make acquaintance (and I 
 confess my ignorance unwillingly), and saw his name for 
 the first time in your letter. 
 
 Again I say a thousand, thousand thanks for your 
 dear letter, and I beg and pray for more and for many. 
 I am no flatterer when I say what a delight such a 
 letter from you is for all of us, and how earnestly we 
 long for speedy and frequent news from you, — it is the 
 truth. Do give us this pleasure as often as you possibly 
 can, dear mother. Give my best love to all at home 
 (I mean my sisters and brother, and brothers-in-law, and 
 nephews), and tell them to think nicely of me and to 
 write to me sometimes. Hoping for a happy meeting, 
 
 I am always, dear Mother, your 
 
 Felix. 
 
 (3.) To Herr .* 
 
 (Translation.) 
 
 Leipzig, ^j>ril 2, 1843. 
 
 My dear Sir, 
 
 A thousand thanks for your kind letter, and 
 for the fact of your being one of those people who 
 do not look upon the memories of pleasant times and 
 happy days as dead, but rather as a living and active 
 influence, just as I do with my whole heart, and have 
 
 '* The original has neither name nor address. 
 
 
 f 
 
 PAST AND PRESENT. 
 
 117 
 
 insisted on all my life ! Every little circumstance which 
 you mention, and a va.st number of smaller ones besides, 
 such as the places we sat in at Erard's, and the lights 
 which were burned at the Baillot-Soiree, and the parts 
 on the blue paper, and the tea which we drank 
 before it began — all this came upon me as if it were 
 yesterday, when I got your letter with its greetings 
 from happy past times. It is just because such things 
 remain so unforgotten, so dear and precious to me, 
 and because most people like to forget the past in 
 the present, that I am doubly glad when some one 
 thinks as I do, and takes the past with the present, 
 and rejoices in it — and so I thank you with all my heart 
 for your letter ; and especially for the dear kind remem- 
 brance which you have kept of me v/ith all these details, 
 and for the assurance that you have not lost the good 
 friendship of those days for me, and will not lose it. 
 That it is the same with me you know very well, 
 and so I join with you most heartily in the wish that 
 we may soon meet one another once again in the world 
 and be happy together. Then we will revel in all the 
 recollections of that Paris life, and see who can outdo 
 the other in them, and above all we will add others 
 to them, new and deli'ghtful ones of the time being, 
 and make new experiences which shall also last out 
 their twelve years, fresh and vivid. Only let it be soon. 
 
ii8 
 
 LETTERS. 
 
 whether In Leipzig, or at Ansbach, or on the way 
 anywhere else about in Germany. — Herr Dürrner, whose 
 talent I value very highly, I have unfortunately seen 
 but once here, and that for a very short time. My 
 winter-months are so completely filled up with work, 
 both public and private, that I do not have the least 
 time for social intercourse. So I shall enjoy it all the 
 more after Easter, when all my public duties cease for 
 six months. I rejoice immensely in that time, and 
 hope that I may then see a great deal of Herr Dürrner, 
 and get to know his compositions thoroughly, and be- 
 come as intimately acquainted with him and his music 
 as a superficial acquaintance has already made me wish 
 to be. I also hope to hear plenty more details from him 
 about you and your life there, and then he will be able 
 to report to you about me and my life. But the best 
 thing, as I said before, would be that we should do it 
 for ourselves, and so be able to judge at once with 
 our own eyes. 
 
 In the hope that this wish may soon be fulfilled, and 
 with many thanks for your kind remembrances and 
 friendly letter, I must close this, and remain, with 
 great respect, always yours faithfully, 
 
 Felix Mendelssohn Bartholdy. 
 
 
 h' 
 
 I 
 
 < 
 
 HANDEL'S ORATORIOS. 
 
 119 
 
 II. 
 
 (4.) To W. Sterndale Bennett, Esq.* 
 
 (Original. ) 
 
 Leipzig, April 3, 1839. 
 
 .... You are now in the middle of your Lon- 
 don season, with concerts, foreigners, businesses &c. of 
 every kind and you will be giddy and occupied enough 
 I dare say ; and yet I write these lines in order to 
 increase your occupations if possible, to add a new 
 trouble to those that already surround you, in short 
 to ask a question — perhaps also a favour. You will 
 recollect that I had a mind to publish some of Handel's 
 Scores, viz. in the original shape, and only with a 
 written Organ part of mine, for those that do not know 
 how to accompany that sort of music on the organ. 
 
 Since your departure Breitkopf and Hartel 
 
 have readily undertaken to publish three oratorios in 
 Score as a beginning and to go on with it if the 
 Public takes interest in the matter. 
 
 Now after I looked over my Arnold's Edition I find 
 it so full of mistakes so far from accurate in the details 
 that it is impossible to give a new edition without 
 comparing the manuscripts which are in your King's 
 
 * From the original in the possession of Sir \V. Sterndale 
 Bennett. 
 
I20 
 
 LETTERS. 
 
 (or Queen's) library and the other editions of Handel 
 which may exist. My Question then is : will you do me 
 the favor to assist me in that undertaking, by looking 
 over the M.S. in those parts which appear doubtful 
 in Arnold's Edition, by comparing the other editions 
 when the M.S. does not explain the questioned passages, 
 or by asking advice of those English musicians whom 
 you think best acquainted with Handclian music and 
 spirit, if the matter still remains undecided. I know 
 your kindness and that if you are not too occupied 
 and your time not too much taken up by the season 
 you will answer in the affirmative. Allow me then 
 to add a few questions which the perusal of Arnold's 
 score of Samson (which is to be amongst the three) 
 suggested to my mind, and which you would greatly 
 oblige me in answering. I saw the original of Samson 
 in the King's library in 1829 and Mr. Anderson gave 
 me then the permission to look it over and take 
 memoranda. 
 
 I. Are the Cyphers (how do you call it ? , Bezifferung, 
 the numbers that indicate the chords in the bass part) 
 Handel's or whose else ? 
 
 Are there any Cyphers in the manuscript ? 
 
 n. Do you ever play the organ in England to 
 Handel's overtures, as for instance to that of Samson ? 
 
 HI. In some oratorios I find songs and recitatives 
 
 QUESTIONS AS TO "SAMSON.' 
 
 121 
 
 1 
 
 f 
 
 which are evidently not to be sung one after the other, 
 but only composed to give a choice to the singer so that 
 only one out of many must be performed. Several 
 instances occur in Arnold's Edition of the Messiah. But 
 also in Samson there are many songs which seem rather 
 out of keeping, and some repetitions which look as if 
 they were only to give a choice, not to be performed 
 one after the other. Are there any proofs of the truth 
 of this to be found in the manuscript ? For instance 
 in the beginning where the three airs are in A, D, and 
 B minor, with the chorus in D are repeated three times, 
 seem rather doubtful ? But more so the two dead 
 marches, one after the other, one in C and one in D } 
 Is there no indication which was the original one ^ Also 
 the repetition of the Chorus of Virgins page 89 of 
 Arnold, after it came in already page SS. Also (but for 
 other reasons) Dalila's songs page 79 and 91 ; also the 
 Recitative, 6th Bar, page 30 ; Song page 40 ; ditto page 
 61 ; 62 ; 69 and 70 ; and page 97 &c. &c. &c. 
 
 IV. Is there no indication of ''Presto" in Handel's 
 handwriting in the chorus " O first created beam " when 
 the words " to thy dark servant " begin ? 
 
 V. Is there another edition of the Score of Samson 
 than Arnold's ? 
 
 VI. In page 46 of Arn. Ed. there are the 4 begin- 
 ning bars of the Recit. without Accomp. ; it comes 
 
122 
 
 LETTERS. 
 
 afterwards in, nobody knows how. Is that also the case 
 in the manuscript ? 
 
 And if you find other things which strike you when 
 comparing the MS. with the printed Copy pray let 
 me know them. 
 
 Now excuse all that trouble and let me have an 
 answer as soon as possible. Tell me how you are, now 
 you fmd yourself in England again 
 
 I shall stay here till the 23rd of this month ; from 
 then till the end of May direct any communications 
 to Düsseldorf, poste restante; from the beginning of 
 June to Frankfort, poste restante Farewell. 
 
 F. M. B. 
 
 (5.) To G. A. Macfarren, Esq., London. 
 
 (Original.) 
 
 Leipzig, 2nd Aprils 1843. 
 
 My dear Sir, 
 
 You have expected a letter from me, and I one 
 from you ; for at the conclusion of your last you said 
 you would look out once more for your Overture and 
 send me word, as soon as you had found it. I thought 
 it impossible that such a work should have been lost 
 entirely, and waited every day for the score or some 
 
 MACFARREN'S "CHEVY CHASE." 
 
 123 
 
 news from you — and now it seems you did the same. 
 When I did not hear from you, I tried to bring out the 
 Symphony in one of our last Concerts, but as I sus- 
 pected, when I first wrote to you, there was some 
 opposition from the Directors, merely because there 
 had been four new Symphonies in the course of the last 
 two months, and they did so much that I was obliged 
 to postpone it until the beginning of the next season, 
 although it was half copied already. I am sorry you 
 feel disappointed by the delay, but it was not in my 
 power to help it. Meanwhile I must repeat what I said 
 in my first letter— if you Jiad an Overture I am sure it 
 would be a better beginning for this public and these 
 Concerts, than a Symphony. Ask Bennett, who knows 
 the place, and who will certainly concur in this opinion. 
 And if you could accordingly let us have an Overture 
 before the Symphony, I am sure the last would be 
 much better understood and received by the public, 
 even if there had not been such a quantity of new 
 native Symphonies beforehand, as there has been this 
 year. You tell me, you never wrote an Overture to 
 Rob Roy. But did I dream of it, or what else can it 
 be } for I recollect the key, D major, the time 6-%, 
 recollect that I saw it published, arranged as a duet, 
 that it began with this rhythm : mm\»'f^T^ j j^*g &c., 
 that on the first page of music was printed once more 
 
124 
 
 LETTERS. 
 
 the title — Overture to &c. by A. Macfarren — now can 
 I have invented, or dreamt all this ? I wish I was right 
 and you would send it or anything else like it, — for I 
 liked it very much, and so would the people here.* 
 
 And as for my not writing, you must never be angry 
 with me for that, or I should be afraid of losing your 
 good opinion very soon. I often live many months 
 without being able to write a letter, sometimes also 
 without an hour of leisure for doing so, and all my 
 friends know it and must bear with it, for it is stron^-er 
 than I am. Ask Bennett also in this respect. 
 
 And as for those good friends of yours who think, as 
 you say, that English music is a thing which cannot be 
 endured in Germany, and that a work of yours would be 
 here like an apparition of two moons, — pray ask them 
 to wait a few months, before they repeat an opinion 
 equally creditable to us and to you, or pray tell them 
 in my name that they are sadly mistaken, and that the 
 event will soon prove them to be so. 
 
 I wish I could write much longer, but again I cannot, 
 and can only assure you that I shall always remain 
 
 Yours very truly, 
 
 Felix Mendelssohn Bartholdv. 
 
 * Mendelssohn here refers to the Overture to Chevy Chase, 
 which was performed on the ist November following. See the 
 next letter. 
 
 MACFARREN'S ''CHEVY CHASE." 
 
 125 
 
 \ 
 
 (6.) To the Same. 
 
 (Original.) 
 
 Leipzig, 20th Nov., 1843. 
 
 My DEAR Sir, 
 
 I am going to leave Leipzig in a few days with 
 wife and children, and chairs and tables and Piano and 
 everything. And while I think of the duties I have 
 still to fulfil as part of the direction of the Abonnement- 
 Concerts, I feel that I must write a few words to you, 
 although I charged Mr. Wessel some time ago to do so 
 in my name. I must tell you that your Overture went 
 very well and was most cordially and unanimously 
 received by the public ; that the amateurs hailed it as a 
 work which promised them a great many treats to come, 
 and which gave them such a treat already in itself; that 
 the orchestra played it with true delight and enthusiasm ; 
 in short that it is sure to be a favourite with all of them. 
 I rehearsed and conducted it with the utmost care ; but 
 now I am going to Berlin and shall not have the 
 pleasure of introducing some of your other Pieces to the 
 Public this winter. But I left the whole of your music 
 with the Concert-Directors (in the hands of Mr. H. C. 
 Schleinitz) who will forward it back to you after the end 
 of the season, and they promised me that they will bring 
 out at least one of your other works, if not several in 
 
126 
 
 LETTERS. 
 
 the course of this winter. Most probably it will be the 
 Symphony, of which the parts arc half copied already, 
 
 God bless you, my dear Sir; excuse these hasty 
 lines ; they pack up all my things and I am in a black, 
 or at least greyish mood. Yes, God bless you from all 
 my heart, and be as happy in your life and in your art 
 as I shall always wish you to be ! Very truly yours, 
 
 Felix Mendelssohn Bartholdy. 
 
 (7.) To the Same. 
 
 (Original.) 
 
 4, HoBART Place, Eaton Square, 
 yuuc dth^ 1844. 
 
 My dear Sir, 
 
 I need not tell you with how great a pleasure 
 I would have played your Sonata* to-morrow, if I 
 possibly could — for I hope you know this. And you 
 also know that it is with true and sincere regret that 
 I must say I am not able to undertake the task which 
 you propose me. During the bustle of the last weeks 
 I have not yet been able to become acquainted with 
 your Sonata ; the whole of this day and of to-morrow 
 morning is taken up with different musical and un- 
 
 * " Ma cousinc;" second Sonata (for Pianoforte solo in A) ; 
 dedicated to Miss Emma Bendixen, by G. Alexander ]\Iacrarren. 
 
 A TRUE ARTIST'S CONSCIENCE. 
 
 127 
 
 musical engagements and accordingly I would hardly 
 have an hour till to-morrow night to play your Sonata 
 over. This I cannot think sufficient, and I would not 
 be able to do it justice in my own eyes. Do not mis- 
 understand me and take this for false modesty ; I know 
 very well that I should be able to-morrow to play it 
 through without stopping and perhaps without wrong 
 notes ; but I attach too much importance to any public 
 performance to believe that sufficient, and unless I am 
 myself thoroughly acquainted with a Composition of 
 such importance and compass I would never venture 
 to play it in public. Once more I need not tell you 
 how much I regret it, for you must know it very well. 
 
 Mr. Davison told me the Concert was now to 
 begin with my Trio :* I shall therefore be punctually 
 with you to-morrow evening at \ past 8. I beg you 
 will arrange about having a good Piano of Erard's at 
 the room ; they know there already which I like best. 
 
 Always very sincerely yours, 
 
 Felix Mendelssohn Bartholdy. 
 
 
 The performance of Mendelssohn's Antiwne 
 which formed the occasion of the followine letter 
 
 * In D minor : Op. 49. 
 
in 
 
 128 
 
 LETTERS. 
 
 took place early in 1845 at Covent Garden 
 Theatre, where that work was produced for the 
 first time in this country, under the musical 
 direction of Mr. G. A. Macfarren. The enter- 
 prise was perfectly successful, and the piece 
 ran thirty nights, only stopping with the termi- 
 nation of the season. 
 
 (8.) To the Same. 
 
 (Original. ) 
 
 My dear Sir, Frankfurt, Zth December, 1844. 
 
 Your letter came two days before my departure 
 from Berlin, and immediately after it I received the 
 news of the very very sore illness of my youngest child, 
 which called me in great haste back to this place, 
 where I had left my family. The child continues 
 very ill, and the physicians give us but a very faint 
 hope ; they say that if it recovers it can only be very 
 slowly, and may last many months, so I need not 
 beg your pardon for not having answered punctually, 
 although the object of your letter was of great musical 
 importance to me. But I say the same words as you 
 do at the end of your letter ; and although I love my 
 art, more from my heart indeed than words can say, 
 
 \ 
 
 ANTIGONE" AT COVENT GARDEN. 
 
 129 
 
 there are other things before which even that love must 
 vanish and be silent. Do not let me add another 
 word 
 
 Have many thanks for the interest you take in 
 bringing out my music to the Antigone-Choruses; 
 I am very glad it is in your hands, because it wants 
 a musician like you to make it go as intended— quite 
 as a subordinate part of the whole, as a mere link 
 in the chain of the poem, and yet perfectly clear and 
 independent in itself. I am glad you have so many 
 Chorus-singers ; I think they will be necessary in your 
 large Theatre. I hope you will also have them placed 
 not on the stage but in the place where usually the 
 Orchestra is, viz. before the stage, so as it was in Berlin, 
 Dresden, &c., and I believe also at Paris. It enhances 
 the effects of the voices, the distinctness of the words, 
 and the beauty of the scenery most wonderfully. Pray 
 let them pronounce the words as distinctly as possible, 
 so as to make the notes less prominent and the words 
 more so, than they usually are in Opera-Choruses. 
 Then let the succession of Dialogue and Music be as 
 rapid as possible, indeed quite without the least inter- 
 ruption or pause ; for instance when the curtain rises 
 and Antigone has appeared, has called her sister and 
 brought her forward from the background, it must be 
 the last bar but one of the Overture, so that imme- 
 
I30 
 
 LETTERS. 
 
 diatcly after the last chord of the wind Instruments 
 (GS|) Antigone begins to speak while the chord is still 
 kept. Again the first Chorus must begin as soon as 
 Antigone has gone down the steps (not immediately- 
 after Ismene's last words of course), and Kreon must 
 be seen immediately when the C major chord, fortis- 
 simo, comes down before the Recitative of the Choruses, 
 and Kreon must again begin to speak while the chord 
 K flat is hardly given, and it must be kept during 
 the first words — and so on throughout the whole. I 
 wish the effect of the whole music to be very lively 
 and yet not too fast, and very majestic and yet not 
 slow. This applies also particularly to the Chorus- 
 Rccitatives, which if sung by a whole mass of voices 
 are of a good effect, but they must not drag them, 
 they must not sing them in time, nor waver in 
 their way of delivering them ; it must be as if they 
 all did speak the words and understand the mean- 
 ing now faster now slower as the meaning requires 
 it and never in a dragging and tiresome way; for 
 instance the Recitative at the end of the 2nd Chorus 
 it must be delivered with great energy, and as fast 
 as a single singer would sing the same words— and 
 so all of them. If you have but one of your Solo 
 singers who sings Recitatives well and in a truly 
 dramatic way, you will easily make the whole Chorus 
 
 k 
 
 INSTRUCTIONS FOR PERFORMANCE. 
 
 131 
 
 follow him, and after few Rehearsals they will do it 
 altogether and by themselves. In the Melodramas, where 
 the words must go together with the notes (with Flutes 
 and Clarinets, &c.), do not let the actress take the 
 tempo of your music (as I heard them do lately at 
 Dresden), but let the flutes accompany her tempo of 
 speaking, which is also not difficult if the flutes will follow 
 you and her. When the Chorus answers the speaker 
 in the Melodramas again there must not be the least 
 interruption or pause, and their singing must come in 
 immediately after the last word spoken, while the pre- 
 ceding chord of the Orchestra must already have been 
 heard during the last phrase. Then there is the acting 
 of the choruses, which is still important. They must 
 but very seldom (as for instance during the Solo in 
 Quartet in G) be quite without motion, and then also 
 they must stand in groups, fiat in the usual theatrical 
 rows; but this I hope will have been well managed 
 in France, from where you have the direction I believe. 
 For example, at the beginning of Chorus i, the singers 
 must not be seen before the ist chord, then they must 
 come two by two, while they sing the beginning and 
 must wander quickly round the altar during the whole 
 of the 4-4, but when the 2-4 begins they must be m 
 their places ; and the singers of the 2d chorus must 
 also not be seen, but after the end of this 2-4, when they 
 
 K 2 
 
11 
 
 n 
 
 132 
 
 LETTERS. 
 
 come in quite in the same way and do the same as 
 the others &c. &c. The acting of the Chorus to 
 Bacchus in D must be very lively towards the end, 
 when those who sing "Hear us, Bacchus" must always 
 wave their sticks and even go up the steps of the 
 altar the last time, while the others who continue with 
 the other words may stand in a row in front (in the 
 background) until their turn comes to sing " Hear us, 
 Bacchus," when the order is reversed, until it ends 
 with a very animated group round the Altar, which is 
 disturbed by the messenger &c. &c. 
 
 Pray excuse this long analysis ; but you would have 
 it ! And as for Israel and the other copy of the 
 works, do you not think you could find an opportunity 
 for sending them to me at this place ! I intend to stay 
 here till next Autumn, if all goes as I wish it; and there 
 are so many of your countrymen, who visit this part of 
 Germany ! I also hope to send you the King of 
 Saxony's name as a Subscriber to the Society very 
 shortly, but I must have a prospectus first, and could 
 not get one at Dresden. Pray send me one, and I hope 
 to arrange the matter directly and easily. Did your 
 negociations with Messrs. Breitkopf and Hartel about 
 the Handel Society lead to no result ? 
 But enough. Believe me always yours, 
 
 Felix Mendelssohn Bartholdy. 
 
 j 
 
 1 
 
 i ? 
 
 i 
 
 "HANDEL SOCIETY." 
 
 »3S 
 
 HI. 
 
 The following seven letters refer to the FuU 
 Score of Handel's ** Israel in Egypt," which 
 Mendelssohn edited, with an Organ part of his 
 own, for the " Handel Society" — instituted in 
 April 1843. Mendelssohn collated an old printed 
 copy of " Israel" with the autograph of the 
 work at Buckingham Palace, wrote the proposed 
 organ part, arranged a pianoforte accompaniment 
 for use in the absence of the orchestra, and 
 submitted the complete copy to the Council 
 of the Society on the 8th of July, 1845. During 
 the correction of the proofs, the Council were 
 very persistent in requiring uniformity as to 
 details with those that had already been issued. 
 One of these points resulted in the following 
 minute, dated June 30, 1864: — ''Letters were 
 produced from Sir H. Bishop, Signor Pistrucci, 
 and Count Pepoli ; and several other authorities 
 were adduced as to the gender and the con- 
 
 
134 
 
 LETTERS. 
 
 y ft 
 
 struction of the plural of the word ' Oboe. 
 It was consequently resolved, '* That the authori- 
 ties before the meetinor leave no doubt that the 
 word 'Oboe' is masculine, and that the termina- 
 tion of the plural is the same as the singular. 
 The word shall therefore be always thus em- 
 ployed in the future productions of the Society, 
 and the instances where it has been hitherto 
 falsely declined shall be corrected in the plates." 
 In Letter No. ii Mendelssohn alludes to 
 this important subject, which had been long 
 under discussion. 
 
 (9.) To the Handel Society. 
 
 (Original. ) 
 
 « 
 
 Frankfort, ist Marc/i, 1845. 
 
 Gentlemen, 
 
 Yesterday I received the King of Saxony^s 
 answer, saying that he will become a subscriber to the 
 Handel Society, and that he has sent an order to his 
 Embassy in London to pay the annual subscription 
 for him. Most probably they will also forward the 
 copies of those works that are already published and 
 of the future publications to the King. 
 
 I 
 
 •'HANDEL society." 
 
 i^ 
 
 .53 
 
 Some months ago when my friend Klingemann 
 passed by this place I had just received a letter from 
 Messrs. Breitkopf & Härtel about the Handel Society, 
 stating the difficulty of getting the copies over without 
 much cKpence to the subscribers, and that this was the 
 great drawback to the undertaking in Germany. I talked 
 the matter over with my friend, and asked him whether 
 Mr. Bunsen, the Prussian Ambassador, who is himself one 
 of Handel's greatest admirers, and has so often oppor- 
 tunities for sending large packages and parcels to this 
 country, could not find a way for sending copies belong- 
 ing to German subscribers to so^ne place in Germany, 
 either Hamburgh, or Cologne, or any other (for the 
 postage from thef^e would be no matter). My friend 
 thought it very probable that Mr. Bunsen might ofYer 
 his assistance in such a way and I thought it my duty 
 to inform you of this, and leave it to you, whether you 
 will talk over this matter with Mr. Klingemann (4, 
 Hobart Place, Eaton Square) and enquire through him 
 at Mr. Bunsen's, which I think better than a direct 
 question. At any rate Mr. Bunsen would forward those 
 copies which belong to the King of Prussia, and the 
 Cathedral Society at Berlin (and also pay the subscrip- 
 tion for these two, I dare say). They were ordered by 
 Count Redern, to whom I applied for it at Berlin. 
 
 Finally let me ask you to send me the proofs of 
 
i'-jy»**« 
 
 U6 
 
 LETTERS. 
 
 Israel in Egypt, if you possibly can, in the course of 
 the next 3 months. I remain here till July and have 
 much leisure to correct them accurately just now, 
 besides it is much easier for you to send them over here 
 than to any other place in Germany where I may go to 
 hereafter. 
 
 I therefore hope you will comply with my request if 
 you possibly can, and am, Gentlemen, 
 
 Your most Obedient Servant, 
 
 Felix Mendelssohn Bartholdy. 
 
 (10.) To William Sterndale Bennett, Esq. * 
 
 (Translation.) 
 
 Frankfurt A.M. 26 May 1845. 
 
 Mv DEAR Bennett, 
 
 Many thanks for your kind letter — ach nein, ich 
 will lieber Deutsch schreiben. [The letter then proceeds 
 in German, of which the following is a translation.] 
 
 Now I have a request, dear Bennett, with which I 
 certainly ought not to come in the middle of a London 
 Season, but which I still make because I hope you are 
 not too much worried, and you will do me a great 
 
 * From the ori 
 Bennett. 
 
 iginal in the possession of Sir W. Sterndale 
 
 I 
 
 I 
 
 I 
 
 «'ISRAEL IN EGYPT." 
 
 137 
 
 kindness thereby. Would you get Mr. Anderson to 
 show you Handel's original MS. of Israel in Egypt,* 
 and look at a few notes in it about which I am doubtful, 
 and write me a line about it } These doubtful notes 
 are as follows: — (i) In the Hailstone Chorus, the first 
 note which the second trumpet has to play, is it in Handel 
 A or G .^ (2) In the third chorus after that, " But as for 
 his people," i/ie fojtrth note before the close, is it in the 
 
 ? (3) In the 
 
 viola D or E .? ^-\p^\'^ 
 
 or 
 
 ±±t 
 
 rci :i2 
 
 t: 
 
 following chorus, *' Egypt was glad," in the sixth bar 
 before the close, \s the second violin so fr^-j:«rjii::: ? 
 
 oi" !E^:i^i ? (4) In the chorus, " But the waters 
 overwhelmed them," the second note hi the <^th bar 
 before the close, is it in the second violin D or E flat .-^ 
 
 -r 
 
 If it is possible for you, pray answer me these four 
 questions — but don't be angry with me. When I think 
 of your Concert on the 24th of June I declare I would 
 rather withdraw my whole request 
 
 Hoping that we may soon meet again. 
 
 Always your 
 
 Felix Mendelssohn Bartholdy. 
 
 * In the Royal Library at Buckingham Palace. 
 
138 
 
 LETTERS. 
 
 (ii.) To G. A. Macfarren, Esq. 
 
 (Original.) 
 
 Leipzig, 28/// September 1845. 
 
 My dear Sir, 
 
 I received the proofs of the 2nd Act of Israel, 
 the day before yesterday (with your letter dated 6th 
 July) and as you referred me in your letter of the 
 2nd Sept. to these proofs, I was not able to return an 
 answer before I had received them. Now I receive 
 to-day your last letter of the 22nd, and hasten to write, 
 although my leisure time of this summer is now over, 
 and I can only write in great hurry, which I beg you 
 will excuse. 
 
 The alterations of which you tell me may be made, 
 as they relate to mere matters of form, and I will alter 
 the Preface accordingly. Therefore the titles of the 
 several pieces may stand as a heading to each in the 
 1st Act, in the same manner you have marked in the 
 proofs of the 2nd. Then the footnotes page i, 22 and 
 192 may be expunged and I shall confine them (and 
 those I may have to make still for the 2nd Act) to the 
 preface. The Hautboys may also be called girls instead 
 of boys, although the Dictionary which I carefully con- 
 sulted before I made the correction most distinctly said 
 the word Oboe was masculine. Never mind all these 
 
 ♦«ISRAEL IN EGYPT." 
 
 139 
 
 things, and you may have the ist part printed as soon 
 
 as you like. 
 
 But pray be sure that no more alterations be Intro- 
 duced, and at any rate not one with which I am not 
 previously acquainted, (may they relate to matters of 
 form or not, to the text of the music or to the 
 Preface). 
 
 I am busily correcting the proofs of the 2nd Act 
 every free hour I can find. I hope to have done with 
 it in the course of next week, and shall then immediately 
 send it to Mess. Hüttner at Hamburgh for Mr. Buxton, 
 your Auditor. 
 
 I have only time to add my best thanks for the great 
 trouble you have again taken on my account with the 
 2nd part, but I shall write you at length (particularly 
 an answer to the last part of your letter, which interests 
 me very much and which I shall endeavour to answer 
 at once satisfactorily) and privately when I send back 
 the 2d. part proofs. Excuse these hasty lines ; 
 
 Always yours very truly, 
 
 Felix Mendelssohn Bartholdy. 
 
 • f 
 
I40 
 
 LETTERS. 
 
 (i2.) To the Same. 
 
 (Original.) 
 
 Leipzig, October 1845. 
 
 My dear Sir, 
 
 I hav^e finished the corrections of the 2d part of 
 Israel, and send it to you with this letter. There 
 are so many faults in it, that a good and exact edition 
 can only be obtained if you will have the kindness to 
 use the utmost care in examining- the places where the 
 corrections are made in the plates. I hope you will 
 do me this favour ; for if not I should despair of the 
 edition becoming a good one, and should consider the 
 time which I devoted to it (and now even with much 
 difficulty) as entirely lost, or worse than that. There 
 are many places where the engraver arbitrarily deviated 
 from the copy which I prepared with the greatest care 
 for this edition, and where these deviations become 
 faults. This is the case on the very first page of the 
 second part ; as it stands engraved, nobody could guess 
 that the "Organo" is meant to play the first C, and to 
 have the subsequent pauses ; besides on the 2nd page 
 the stafif for the "Organo" would come in without an 
 inscription, and nobody would know what it means ; 
 then the ist page would look as if the Violoncelli had 
 to play those notes alone, and the Contra-Bassi only 
 
 ENGRAVERS' MISTAKES. 
 
 141 
 
 the first C — in short the whole thing is one confusion, 
 — is wrong by the deviation from the old copy which 
 is quite distinct and right. This will be easily altered, 
 but a more difficult and expensive alteration will be 
 necessary for the Chorus, " And I wüll exalt him," 
 p. 197-208. I wrote the reasons why I cannot allow 
 this deviation under the beginning of that Chorus ; the 
 mistake at the beginning and page 203, 204, &c., are 
 quite ridiculous, and as much as I regret to give the 
 engraver and the Society so much trouble I cannot help 
 it, and he must engrave it with one liiie (for Organo and 
 Bassi) while he must engrave the first page of the 
 second part with two lines. Another correction which 
 I had to make through the whole of the Oratorio, and 
 which I cannot allow to stand, although it seems most 
 insignificant, is the constant use of slurs which the 
 engraver always placed over two notes (quavers or semi- 
 quavers generally) which are to be sung on one word 
 (for instance page 216, bar 4, 6, 8, page 340, bar 2, &c.). 
 I say it seems insignificant, but it IS NOT, as I am sure 
 that slurs are used in such cases (in ancient, particularly 
 in Bach's and Handel's, music) as a characteristic sign 
 for the expression, much as we would use this sign : 
 
 • • * * * 
 
 ^^^^Pi^cifz -^^ ^"^^ ^ pause Is not meant, they do 
 not place the slur over the notes, because it is quite 
 
142 
 
 LETTERS. 
 
 unnecessary^ the manner of uniting the quavers and 
 
 semiquavers (jj 5; , instead of J^J^\ indicating clearly 
 
 enough that they are to be sung on the same syllable. 
 Another thing which must be carefully done is to add 
 always '*by the Editor," to that part of "Organo" which 
 is mine ; if this is omitted, the misunderstandings which 
 aheady exist about Handel's Organ parts will be in- 
 creased to a most fearful extent, notwithstanding the 
 explanation in the Preface : people will believe he has 
 written two, or he has written mine, or he has written 
 none, or I do not know what. Therefore pray be sure 
 this explanation is 7iever omitted in the score (also not 
 in the first part, I hope, where I carefully added it when 
 I corrected it). Many faults have also occurred in the 
 Pianoforte adaptation; although I did not receive the 
 Original of this I believe that the greater part of them 
 are my faults not the engraver's, and I beg his and your 
 pardon for it, but hope nevertheless that they will be 
 most carefully corrected. The same with the Organo 
 (by the Editor) of which I did not receive the most 
 important pieces (inlaid leaves) and which I wish to be 
 as correct as possible, because I bear the responsibility 
 
 of it. 
 
 Now, my dear Sir, I come to those places where you 
 indicated to me the suggestions of the Council. I wrote 
 
 HANDEL'S ORGAN.PARTS. 
 
 143 
 
 my answers under your remarks to save time, but I beg 
 you will erase tJie wJiole (remarks and answers) before 
 you give the Copy into the Engraver's hands, because 
 I really should not like anybody but you to become 
 acquainted with these things. Indeed the reasons I 
 give are most especially for you and for nobody else, 
 and if that had not been the case, I would have plainly 
 said that so and so was my opinion, (because nobody 
 shared the responsibility of an Edition which bears my 
 name). It was painful to me not to be able to agree 
 with the Council in some of their suggestions, you will 
 see in looking over the Preface (as altered now) that I 
 have done whatever I could, in introducing all those 
 alterations which relate to the English language (of 
 which I cannot judge) and others which have, to my 
 opinion, the greater probability. But in those cases in 
 which I am of a different opinion I could not adopt the 
 reading of the Council (although the difference may 
 only consist in trifles) and as I have not been able to 
 change my opinion in these cases, after duly considering 
 and sincerely wishing it, I beg the Corrections will stand 
 as marked by me in this Copy. 
 
 Indeed I must rely on your complying with this wish 
 of mine, for I cannot give my name to anything (and if 
 it was but a trifling thing) which I do not consider right 
 and true myself at that moment. The same is the case 
 
I i 
 
 144 
 
 LETTERS. 
 
 ''ISRAEL IN EGYPT." 
 
 145 
 
 with the Preface. I have altered as much as I could ; 
 if other things must still be altered for the sake of a 
 good English style (although nobody expects such a 
 thing from me) tell me so, and we will again correspond 
 on this eternal and not very pleasant and musical sub- 
 ject. But do not introduce in the Preface nor in the 
 Score any alterations with which I did not agree, and 
 which I have not seen first. 
 
 I heartily hope you might say ''Yes" at once to these 
 my requests, and we might not be forced again into this 
 sort of unmusical Correspondence which we both equally 
 dislike, I am sure, and which I should be most happy to 
 see at an end. 
 
 Very truly yours, 
 
 P'ELix Mendelssohn Bartiioldy. 
 
 (13.) To tJie Same, 
 
 (Original.) 
 
 Leipsic, 31 Dec. 1845. 
 
 My dear Sir, 
 
 I received your letter this day week and it is 
 already several days since I sent my answer by way of 
 Hamburgh under your direction to Mess. Ewer & Co. 
 I send this letter now by post, that you may have it still 
 sooner if possible. My answer to your former questions 
 
 j 
 
 \\ 
 
 is contained in detail in the Hamburgh letter. To the 
 words about "the narrative which forms the subject" I 
 have no objection and they may be inserted at the head 
 of the text of the Oratorio (but not in the Score, or else 
 you must write " Council," or " Ed." or what you like 
 under it). But enough. 
 
 Many, many good wishes for your Opera! May it 
 succeed and give you and your friends pleasure and 
 many happy hours in 1846 and 1856 and so on ! 
 
 Always yours very truly, 
 
 Felix Mendelssohn Bartholdy. 
 
 (14.) To the Same. 
 
 (Original. ) 
 
 Leipsic, ^rd April, 1846. 
 
 My dear Sir, 
 
 The businesses (musical and others) with which I 
 am surrounded here are so numerous that I am totally 
 unable to write letters. I therefore delivered your 
 enclosures to the Editors here, and in a letter, which I 
 had to write to Mr. Buxton, requested him to answer 
 those points of your letter which you now repeat to me. 
 I do not understand why Mr. Buxton did not communi- 
 cate to vou mv answer as I wrote it to him, and I write 
 
 L 
 
146 
 
 LETTERS. 
 
 now in great haste the same to you. You may send the 
 money in any (safe) way you like — it is not for me to 
 name any and I leave it to you — if I should propose one 
 it would be, to pay it to Mr. Buxton who could then 
 have it paid at Hamburgh to my brother's house, as he 
 often did — but any other way is equally agreeable to 
 me. If you have the impression that I wished or 
 consented to become a Member of the Handel Society, 
 then of course you may deduct three Guineas for three 
 years subscription but I beg at the same time you will 
 send the publications of these 3 years to Mr. Buxton to 
 keep them for me, as I did not receive one volume till 
 now. The reasons why you want me to be a subscriber 
 are very flattering and I thank you for saying so, but 
 I can only repeat what I wrote already to you on that 
 subject — that I have already one complete edition and 
 very many single volumes of Handel's works, and that 
 I therefore do not intend to have, nor indeed can I find 
 room for a third Edition in my librar}^ It would there- 
 fore not be consistent with truth if my name was kept 
 in future on the subscribers' lists, without my having 
 subscribed in reality, which, (I must repeat it) I am 
 
 not able to do I am my dear Sir, very 
 
 truly yours, 
 
 Felix Mendelssohn Bartholdy. 
 
 V 
 
 i 
 
 "LSRAEL IN EGYPT." 
 
 147 
 
 (15.) To the Same. 
 
 (Original.) 
 
 Leipzig, 28 December 1845. 
 
 My dear Sir, 
 
 I hasten to reply to your letter (which you wrote 
 to me as Secretary of the Handel Society) and which 
 I received yesterday. Have many, many thanks for the 
 trouble you take in correcting and recorrecting the 
 proofs of Israel in Egypt as you have done ; but this 
 obligation I have, (if I am- not mistaken) to Mr. 
 Macfarren, and not to the Secretary, and my thanks to 
 you I hope to express better in another and more 
 pleasant letter than this can be. 
 
 As I told you in my last letter I wish to end the 
 communications I have had with " the Council " on 
 this subject, and am therefore very glad you tell me 
 that the 6 points about which you question me are to be 
 settled among ns two, and not to be brought again 
 before any Council. / rely on your word in this assur- 
 ance, for if this was not the case I would only say that 
 I expressed my opinion in my last letter (viz. to give 
 way to everything which regards the English language 
 or my personal authority, and in none which regards 
 Handel's authority.) But as zve have to settle it, I go 
 
 L 2 
 
148 
 
 LETTERS. 
 
 most willingly through the six points. Pray let it be 
 the last time that I must correspond on this subject. 
 
 1. Instead of 'pauses in the Contrabass!' say 'rests' 
 and instead of 'lay before the public' say 'the mem- 
 bers' or ' the Society' as you think best. 
 
 2. The double bar after the Chorus ' He is my God ' 
 must stand if it is in Handel's manuscript, and fall if it 
 is not in it (for I will neither add nor take out anything 
 for ' uniformity's sake ') ; I corrected the first (Arnold's) 
 Copy, after which this new Copy was engraved note by 
 note, after Handel's manuscript. If then the double bar 
 is in this (Arnold's) Copy, I think it probable that the 
 same is the case in Handel's. But if you will compare 
 this last, which you can easily I fancy, you will greatly 
 oblicre me, and the matter will be settled at once. 
 
 3. I am sorry to have given you the trouble of copy- 
 ing out the bass parts of the Chorus " I will exalt him." 
 But I must repeat what I said in my last letter, and 
 none of the reasons you can tell me can satisfy me 
 to go against Handel's manuscript in this case. The 
 rests at the beginning (in the Bass part) could be placed 
 there without any doubt, as Handel writes at the begin- 
 ning- 'senza Violins and Bassoons' (although he does 
 7iot mention the Violoncelli) — but in the middle of the 
 Chorus, the Violoncelli and Bassoons (Fagotti) might 
 most probably be meant to play the same (Tcnore &c.) 
 
 LOYAL TO HANDEL. NO TROMBONES. 
 
 149 
 
 notes as the Organ (at least I, for one, would make 
 them play them)— and therefore the rests are not jus- 
 tified those. Pray then let the plates be re-engraved. 
 
 4. The same with regard to the Contra-bassi at the 
 end of "Thou didst blow," viz. let it be engraved 
 as in Handel's manuscript (in the corrected (Arnold) 
 copy) without these Contrabassi. / knozv that the 
 custom is in England to let them play the last Sym- 
 phony, — but in Germany it is customary to let them 
 play the same thing throughout the whole Song, where- 
 ever the subject is repeated, (almost continually then) 
 and I like the " effect " of it very much. Who is right } 
 Why not adopt the German reading as well as the 
 Eno-lish.? / cannot decide it. Handel is right most 
 
 probably. 
 
 5. I will not write Trombone parts. I wish not to 
 prolong the Correspondence, as I told you, or else 
 I should be tempted to tell you my candid opinion 
 of this " Trombone "-decision of the Council, which 
 you now communicated to me. Perhaps I shall do so 
 in a letter which I shall soon write to you, (not to the 
 Secretary, but the musician). 
 
 6. Announce my name without any titles at all. 
 And now let me not add another word but merely 
 
 say that I am and remain very truly yours, 
 
 Felix Mendelssohn Bartholdy. 
 
ISO 
 
 LETTERS. 
 
 III. 
 
 (l6.) To the HOFRATH FRIEDRICH ROCHLITZ, Leipsic* 
 
 (Translation.) 
 
 DÜSSELDORF, February 25, 1835. 
 
 Hochgeehrter Herr Hofrath, 
 
 I am very much obliged to you for your last 
 kind letter, and for the announcement it brinc^s me of 
 the fulfilment of what was formerly but an uncertain 
 hope, as well as for the distinction you have awarded 
 me above other composers, — which is for mc the greatest 
 pleasure and honour. You must be aware what a gift 
 you bestow on a musician in such a work, and can 
 therefore imagine how very grateful I am to you for it. 
 The Oratorio on which I am now occupied, will, please 
 God, be finished in about three months ; and as soon 
 as I have taken breath again for so important a task, 
 and have finished some things which I must undertake 
 directly afterwards, I shall be delighted to begin another 
 work of the kind. It is true this may not be before 
 next winter, but you say yourself that it need not be 
 written immediately, so I accept your kindness with the 
 utmost gratitude, and am now all eagerness to get your 
 
 * Autograph in the possession of Madame Preusser, daughter 
 of Rochlitz, and an old and valued friend of Mendelssohn. 
 
 ORATORIOS. "ST. PAUL.' 
 
 151 
 
 next letter, and hear what your subject is. Pray do not 
 leave me long in uncertainty, for what you say about 
 it only makes my impatience the greater ; and if the 
 subject be in itself attractive to me, there is hardly any 
 doubt but that your treatment of it must make it still 
 
 more so. 
 
 The subject of my present Oratorio is "St. Paul." 
 It begins with his presence at Stephen's trial ; and this, 
 with his persecution of the Church and his conversion as 
 far as the conversation with Ananias, forms the first part ; 
 the chief points in his after life— the conversion of the 
 heathen, the worship offered him at Lystra, his im- 
 prisonment with Silas, the parting with the elders at 
 Ephesus— constitute the second and last part. It is 
 compiled throughout entirely from the Bible words, and 
 whilst writing it I have felt with renewed pleasure how 
 forcible, how exhaustive, and how harmonious the 
 Scripture language is for music. There is an inimitable 
 force in it, and a rhythm which has often seemed of 
 itself to suggest the music to me. I hope to hear my 
 music for the first time this autumn in Frankfort, per- 
 formed by the '^ Cäcilicn-Vercin ^ and even though I 
 may find plenty of things in it which I should have to 
 avoid in yours, and many errors and faults, I look 
 forward to it with all my heart. But enough of this, 
 and now I will only add a request for an early answer. 
 
152 
 
 LETTERS. 
 
 FORTY-SECOND PSALM. COLOGNE. 
 
 153 
 
 which I await with the greatest impatience. Pray 
 receive again my best thanks for your kindness, and 
 accept the esteem and respect of yours faithfully, 
 
 Felix Mendelssohn Bartholdy. 
 
 (17.) To Mr. J. Alfred Novello, London^ 
 
 (Original. ) 
 
 Leipzig, ith Aprils 183S. 
 
 My dear Sir, 
 
 I gave Colonel Chatterton's bandmaster the 
 money, according to your wishes, and hope he arrived in 
 your country, and found his way through the difficulties 
 he must have met with by sea and by land, to 
 Manchester. 
 
 I wish I could send you the wished-for composition 
 of the set of words you sent me ; but it is altogether 
 impossible for me to do anything in the way of prize 
 composition ; I cannot do it, if I would force myself to 
 it ; and when I was compelled to do so, when a boy, 
 in competition with my sister and fellow-scholars, my 
 works were always wonders of stupidity — not the tenth 
 part of what I could do otherwise. I think that is the 
 
 * From the original in possession of Mr. Novello. Some words 
 in the letter are now illegible. 
 
 reason why I felt afterwards such an antipathy to prize- 
 fighting in music, that I made a rule never to participate 
 in'' it. Excuse me therefore, I should like to do as you 
 wish me if I possibly could. 
 
 Breitkopf and Hartel will send you the Pianoforte 
 arrangement of my Psalm* in very short time, and write 
 you about it. They wish to print the full score with 
 the English words, as I think you will publish it in 
 England. Send them the English translation as soon 
 as ''you have it. I looked at the English Bible and 
 found the words would do with some alteration. These 
 of course must be cleverly made, and at all events I 
 wish you will stick to the words of the Bible as much as 
 you can. Show Mr. Klingemann the translation before 
 you adopt it. I think you will like this Psalm. 
 
 As for my old Service which you will publish at 
 present ... I beg you will write once more about it 
 if you want it, as I must copy it out afresh and could 
 bring it with me and hand it over to you at Cologne. 
 Now you really must come to Cologne,t and your plan 
 of bringing . . . with you and of accepting the prospect 
 of music and . . . is most excellent. Pray do come ; I 
 am so sure you will care for the music. I do not know 
 yet how the performance will go off; we have the 
 
 * The 42nd Psalm—" As the hart pants." (Op. 42.) 
 f For the Lower- Rhine music-festival of 1838. 
 
154 
 
 LETTERS. 
 
 AN OPERA-BOOK. 
 
 155 
 
 whole festival made up of seldom-performed music ; 
 but there is a glorious Cantata of [Sebastian Bach's] 
 amongst the number, with a double chorus in it, which 
 would repay for the journey by itself And the Rhein- 
 wein, and [besides] that the whole Oratorio of Joshua. 
 [Bach's] new Cantata and Cologne's old Cathedral and 
 the gay green Rhein, I hope you will not resist all these 
 attractions and be sure to come over; and a most hearty 
 welcome you shall have. My wife's best compliments ; 
 my boy is a wonderful creature for eating and sleeping, 
 crying into the bargain ; but in excellent health which 
 is the best of all. 
 
 I am always very truly yours, 
 
 Felix Mendelssohn Bartiioldv. 
 
 (18.) To Herr Anton Zuccalmaglio. 
 
 (Translation. ) 
 
 Leipzig, Z)cr^w/;^ 4, 1839. 
 
 Hochgeehrter Herr, 
 
 I have long wanted to write and thank you for 
 your kind letter, and for the beautiful poem, which has 
 been in my hands since the end of September. • Pray 
 forgive this long delay; in intention I have written 
 to you many a time, long since, but my days here have 
 
 been far too full of interruptions of all sorts, both 
 private and public, pleasant and unpleasant, to allow 
 of my doing it actually. 
 
 Now that things are a little quieter my first object is 
 to thank you heartily for all your kindness, especially 
 for this new proof of it, which has given me much 
 pleasure. Your subject is very poetic and beautiful, and 
 your idea of the opposing voices, of the warriors and 
 the maidens, and the disappearance of the latter and 
 their concealment in the rock, is capitally worked out. 
 But I have one objection ; it seems to me that in the 
 poem the moment of the actual transformation does 
 not stand out clearly enough, at least one does not 
 clearly understand what becomes of the church and her 
 proteges ; and I confess that I cannot quite make out 
 your meaning as to the end of the maidens (in the 
 poem, I mean) whether they are enclosed in the rock, or 
 whether through the transformation they are lifted up 
 ''to the eates of Heaven." Or perhaps my objection 
 springs from the whole form of the poem, and could 
 only be removed by a visible transformation ? Anyhow 
 I believe even one verse might help to make it clearer ; 
 but what do you think.? 
 
 I would gladly have sent you some music instead of 
 this tiresome letter, but I have so little time to myself 
 in the winter. The Concerts and the whole way of life 
 
 I 
 
156 
 
 LETTERS. 
 
 LEGEND OF GENOVEVA. 
 
 157 
 
 take up more time and leisure than I expected, and I am 
 glad enough if in my spare time I can but manage to 
 clear up my unfinished work, leaving the beginning of 
 new things for the summer months, which thus become 
 doubly delightful. Is there any chance of your coming 
 to see us again soon ? and for longer than last time ? 
 Please write me a few lines, and tell me how you are and 
 what you are doing. I should also be so glad to hear 
 something about H. Ernemann, in whose fate I felt much 
 concerned this autumn when he was laid up at Frank- 
 fort, and of whom I have since heard nothing. Perhaps 
 you could tell me something about him ? 
 
 With the greatest esteem, 
 
 Ever yours most faithfully, 
 
 Felix Mendelssohn Bartholdy. 
 
 (19.) To Herr Adolf Boettger, Lcipsic. 
 
 (Translation. ) 
 
 Berlin, December 10, 1841. 
 
 Hochgeehrter Herr, 
 
 Thank you sincerely for your kind letter, which 
 I answer with all the frankness that an object of such 
 great and immediate moment so emphatically demands, 
 provided that it leads us to the end in view, and not 
 
 ■■1 
 
 away from it. I have frequently thought over the sub- 
 ject of the Legend of St. Genoveva, which you propose, 
 but have always been deterred from it by a certain 
 passiveness in the character or at least in the action of 
 the chief personage. By which I mean that our interest 
 in Genoveva arises more from what she suffers and the 
 way in which she suffers it, than from what she does, or 
 from any dramatic business or action on her part. For 
 her rejection of the importunities of her friend really 
 forms only the starting point of the story, and is cer- 
 tainly not its chief motive, which hes in the suffering 
 she undergoes ; and therein I find — what shall I say t 
 —something weak and passive, and in my judgment 
 quite unfit for the material for an opera. I believe that 
 this accounts for the non-success of several attempts to 
 treat the subject. An Opera of that name was given 
 here a short time * since, and was not well received ; 
 chiefly, as I am informed, on account of the too uni- 
 formly elegiac character of the material. But perhaps 
 you would treat the situations so as to give a different 
 cast to all this } In that case I beg you to give me a 
 very general outline of the way in which you would 
 conceive the course of the business. But I can hardly 
 
 * Schumann's " Genoveva" was completed in August 1848, and 
 produced at the Leipsic theatre on June 25, 1850. The reference 
 in the text is therefore to some other composition. 
 
158 
 
 LETTERS. 
 
 believe that even under the liveliest treatment any 
 really active dramatic life could be thrown into the 
 principal personage, or a really original and character- 
 istic development given to the subordinate personages 
 in the piece. 
 
 Waiting a reply at your convenience, and with 
 
 great esteem, 
 
 I am, yours faithfully, 
 Felix Mendelssohn Bartholdy. 
 
 (20.) To Professor Wolfgang R. Grierenkerl, 
 
 Drnnsiuick!^ 
 
 (Translation.) 
 
 Berlin, Novcviber i8, 1S44. 
 
 Hochgeehrter Herr, 
 
 Many thanks for your kind letter of the iitli, 
 from which, however, I regret to see that there has been 
 some mistake. My brother-in-law told me a few weeks 
 ago that you had written or were proposing to write a 
 book for an Opera, and asked me if I felt inclined to 
 set it to music. Although I cannot at present undertake 
 an Opera on account of many other works in progress, 
 I said to him that in any case it would interest me much 
 
 * Autograph in the possession of William Mitchell, Esq. 
 
 opera-book, the ''TEMPEST." 
 
 159 
 
 to make acquaintance with your poem, and that it would 
 afford me great satisfaction if you were inclined to send 
 me an Opera book. 
 
 To Shakespeare's '* Tempest," as an Opera, I have, 
 I confess, little inclination ; nor does the destruction of 
 Jerusalem— at least as I have hitherto seen it treated— 
 appear to me fit for the Theatre. But the fact is that 
 the whole matter depends more on the /low than the 
 7v/iat, and that no subject can be either accepted or 
 rejected unconditionally. One important thing appears 
 to me to be that the Composer and the Poet should 
 meet, if only for a short time, so as to talk over and 
 understand the thing. Without that I fear that there 
 can be no real co-operation, and on this ground alone I 
 •should like very soon to meet you again. 
 
 Hoping that my wish may be fulfilled, and with 
 
 much consideration. 
 
 Yours faithfully, 
 
 Felix Mendelssohn Bartholdy. 
 
 THE end. 
 
K ^ 
 
 t^ 
 
 
 
 X,^; 
 
 f'G 
 
 Bedford Street, Covent Garden, London, 
 
 Aprils 1872. 
 
 Macmillan ^ Co:s Catalogue of Works 
 in the Departments of History, Biography, 
 a7id Travels ; Politics, Political and Social 
 Economy, Lazu, etc; and Works connected 
 with Lanouacre, With some short Account 
 or Critical Notice concerning each Book. 
 
 LONDON : 
 
 R Cl.AT, SONS, AND TAYLOR, PRINHtRk, 
 
 BKKAÜ STKEKT HH.L. 
 
 HISTORY, BIOGRAPHY, and TRAVELS. 
 
 Baker (Sir Samuel W.) — Works by Sir Samuel Baker 
 M.A., F.R.G.S.:— 
 
 THE ALBERT N'YANZA Great Basin of the Nile, and Explora- 
 tion of the Nile Sources. New and Cheaper Edition. Maps and 
 Illustrations. Crown 8vo. 6j-. 
 *^ Bruce woji the source of the Blue Nile; Speke and Grant won the 
 Victoria source of the p'cat White Nile; and I have been permitted to 
 succeed in completing the Nile Sources by the discovery of the great 
 reservoir of the equatorial waters, the Albert N'yanza, from which the 
 river issues as the entire White iV//^."— Preface. '' As a Macaulay 
 arose among the historians ;' says the Reader, ''so a Baker has arisen 
 among the explorers:' " Charmingly written;'' says the Spectator, 
 "/////, as might be expected, of incident, and free from that wearisome 
 reiteration of useless facts luhich is the draivback to almost all books of 
 African travel.'" 
 
 THE NILE TRIBUTARIES OF ABYSSINIA, and the Sword 
 Hunters of the Hamran Arabs. With Maps and Illustrations. 
 Fourth and Cheaper Edition. Crown 8vo. 61. 
 
 10.000.4.72. 
 
2 MACMILLAN'S CATALOGUE OF WORKS IN 
 
 Sir Samuel Baker here describes twelve months'' exploration, during 
 zvhich he examined the rivers that are tributary to the Alle from Abyssinia, 
 including the Atbara, Settite, Roy<<in, Salaam, Angrab, Rahad, Dinder, 
 and the Blue Nile. The interest attached to these portions of Africa differs 
 entirely from that of the White Nile regions, as the whole of Upper Egypt 
 and Abyssinia is capable of dei'clopment, and is inhabited by races having 
 some degree of civilization; while Central Africa is peopled by a race of 
 savages, whose future is 7nore problematical. The Times says : '■'■ It solves 
 finally a geographical riddle which hitherto had been extremely perplexing, 
 and it adds much to our information respecting Egyptian Al>yssinia and 
 the different races that spread over it. It contains, moreoz'cr, some notable 
 instances of English daring and enterprising skill : it abounds in ani- 
 mated tales of exploits dear to the heart of the British sportsman ; and it 
 will attract even the least studious reader, as the author tells a story well, 
 and can describe nature with uncommon power.^' 
 
 Barante (M. De). — ^aGuizox. 
 
 Baring-Gould (Rev. S., M.A.)— legends OF OLD 
 
 TESTAMENT CHARACTERS, from the Talmud and other 
 sources. By the Rev. S. Baring-Gould, M.A. Author of 
 '• Curious Myths of the Middle Ages," " The Origin and Develop- 
 ment of Religious Belief," " In Exitu Israel," c\:c. In Two Vols. 
 Crown 8vo. xds. Vol. T. Adam to Abraham. Vol. II. Mel- 
 chizedek to Zechariah. 
 
 Mr. Baring- GouhPs previous contributions to the History of Mythology 
 and the formation of a science of comparative religion arc admitted tobe 
 of high importance; the present work, it is beliez'cd, will be found to 
 be of equal value. He has collected from the Talmud and other sources, 
 Jeivish and Mohammedan, a large number of curious and interesting 
 legends concerning the principal characters of the Old Testament, cotn- 
 paring these frequently with similar legends current among many of the 
 peoples, savage and civilized, all aver the world. ** These "volumes contain 
 much that is vay strange, and, to the ordinary English reader, very 
 noi'd.'' — Daily News. 
 
 Barker (Lady). — See also Belles Lettres Catalocue. 
 
 STATION LIFE IN NEW ZEALAND. By Lady Barker 
 Second and Cheaper Edition. Globe 8vo. 3^-. 6</. 
 
 HISTORY, BIOGRAPHY, &- TRAVELS. 
 
 These letters are the exact account of a lady's experience of the brighter 
 and less practical side of colonization. They record the expeditions, ad- 
 ventures, and emergencies diversifying the daily life of the wife of a New 
 Zealand sheep farmer ; attd, as each was written while the novelty and 
 excitement oj the scenes it describes were fresh upon her, they may succeed 
 in giving here in England an adequate impression of the delight andjree- 
 dom of an existence so far retnoved from our own highly -wrought civiliza- 
 tion. ' ' We have fiever read a more truthful or a plea sanier little book. "— 
 Athen.^um. 
 
 Bernard, St. — ä-^Morison. 
 
 Blanford (W. T.)— GEOLOGY AND ZOOLOGY OF 
 ABYSSINIA. By W. T. Blanford. 8vo. 21s. 
 
 This work contains an account of the Geological and Zoological 
 Observations made by the author in Abyssinia, when accompanying the 
 British Army on its march to Magdala and back in 1868, and durino- a 
 short journey in Northern Abyssinia, after the departure of the troops. 
 Parti. Personal Narrative; Part IL Geology; Part III. Zoology. 
 With Coloured Illustrations and Geological Map. '^ The result of his 
 labours" the ACADEMY says, *' is an important conti'ibution to the 
 natural history of the country.''^ 
 
 Bryce.— THE HOLY ROMAN EMPIRE. By James Bryce, 
 D.C.L., Regius Professor of Civil Law, Oxford, "^^y^ and Re- 
 vised Edition. Crown 8vo. 7j. dd. 
 
 The object of this treatise is not so much to give a narrative history of 
 the countries included hi the Romano- Germanic Etnpire — Italy during the 
 Middle Ages, Germany from theninth century tothenineteenth — as to describe 
 the Holy Empire itself as an iiustitutioji or system, the ivonderful offspring 
 of a body of beliefs and traditions which have almost wholly passed aivay 
 from the world. To make such a description intelligible if has appeared 
 best to give the book the form rather of a narrative than of a dissertation ; 
 and to combine with an exposition of what may be called the theory of the 
 Empire an outline oJ the political history of Germany, as well as some 
 notice of the affairs of mediceval Italy. Nothifig else so dij'ectly linked the 
 old xvorld to the neiu as the Roman Eutpire, which exercised over the minds of 
 men an influence such as its material strength could nez>er have commanded. 
 It is of this influence, and the causes that gave it poiver, that the .present 
 'work is designed to treat. ^^ It exactly supplies a want ; if a fords a key 
 
 A 2 
 
.01 
 
 4 MACMrLLAN\S CATALOGUE OF WORKS IN 
 
 HISTORY, BIOGRAPHY, 6- TRAVELS. 
 
 lo much luhtch men read of in their books as isolated facts, butofu^nch they 
 have hitherto had no connected exposition set before them. IVe knmo of no 
 loiter tvho has so thoroughly grasped the real nature of the medi.ez-al 
 Kmptrc, and its relations alike to earlier and to later times "—Saturday 
 Review. 
 
 Burke (Edmund).~9.vMoRLEY(joHN). ' 
 
 Cameos from English History._9.. Yonge (Miss). ; 
 
 Chatterton.— .sv.' Wilson (Daniel). 
 
 Cooper. — ATHENE CANTABRIGIENSES. By Charles 
 Henry Cooper, F.S.A., and Thompson Cooper, F.S.A. 
 Vol. T. 8vo., 1500—85, iSj. ; Vol. II., 1586-1609, i8j. 
 
 This elaborate work, which is dedicated by permission to Lord Macaulay 
 contains lives of the eminent men sent jorth by Cambridge, after the 
 fa:hion of Anthony ä Wood, in his famous '' A thence Oxonietues:' 
 
 Cox (G. v., M.A.)-— RECOLLECTIONS OF OXFORD. 
 By G. V. Cox, M.A., New College, late Esquire Bedel and 
 Coroner in the University of Oxford. Cheaper Edition. Crown 8vo. 
 6j. 
 
 " An amusing farrago of anecdote, and will pleasantly recall in many 
 a country parsonage the me^nory of youthful fl'rtjv."— Times. *' Those 
 ivho wish to make acquaintance with the Oxford of their grandfathers, 
 and to keep up the intercourse with Alma Mater during their jathet^s time, 
 r.'en to the latest noz'clties in fashion or learning of the present day, will do 
 well to procure this pleasant, unpretending little volume. "—Atlas. 
 
 ** Daily News."— THE DAILY NEWS CORRESPOND- 
 ENCE of the War between Germany and France, 1S70— i. Edited 
 with Notes and Comments. New Edition. Complete in One 
 Volume. With Maps and Plans. Crown 8vo. ds. 
 
 This Correspondence has been translated into German. In a Preface 
 the Editor says: — 
 
 " Among the various pictures, recitals, and descriptions which have 
 appeared, both of our gloriously ended national war as a whole, and of Us 
 several episodes, we think that in laying before the German public, through 
 
 a translation, thefollo7ving IVar Letters which appeared ßrst in the Daii^y 
 News, and zaere afterwards published collectively, we are offain^ them a 
 picture 0/ the events of the zvar of a quite peculiar character. Their com- 
 mumcations have the advantage of being at once entertaining and instruc- 
 tive, free from ez>ery romantic embellishment, and nez'ertheless written 
 in a vein intelligible and notfatigtung to the general reader. The writers 
 linger over events, and do not disdain to surround the great and heroic 
 war.pictures with arabesques, gay and grave, taken from camp-life and 
 the life of the inhabitants of the occupied territory. A feature which 
 distinguishes these Letters from all other delineations of the war is that they 
 do not proceed from a single pen, but were written from the camfs of both 
 belligerents.^^ These notes and comments;^ according to the Saturday 
 KEVIEW, are in reality a very well executed and continuous history.'' 
 
 Dilke.-GREATER BRITAIN. A Record of Travel in English- 
 speakmg Countries during 1866-7. (America, Australia, India ) 
 By Sir Charles Wentworth Dilke, M.P. Fifth Edition. 
 Crown 8vo. öj. 
 
 " Mr. Dilke;' says the Saturday Review, " has written a book which 
 IS probably as well zvorth reading as any book of the same aims and 
 character that ojer was written. Its merits are that it is written in a 
 lively and agreeable style, that it implies a great deal oj physical pluck 
 that no page of it fails to show an acute and highly intelligent obsen^er 
 that It stimulates the imagination as well as the judgment of the reader 
 and that^ it is on perhaps the most interesting subject that can attract an 
 Lnghshman who cares about his country.'' '^ Many of the subjects dis- 
 cussed in these pages," says the Daily News, -are of the voidest interest 
 and such as no man who cares for the future of his race and of the world 
 can afford to treat with indifference. " 
 
 Dürer (Albrecht).— ^.. Heaton 
 
 (Mrs. C.) 
 
 European History, Narrated in a Series of Historical 
 Selections from the best Authorities. Edited and arranged by 
 E. M. Sewell and C. M. Yonge. First Series, crown 8vo. 6s. ; 
 Second Series, 1088-1228, crown 8vo. 6s. 
 
 When young children have acquired the outlines of history from abridg- 
 ments and catechisms, and it becomes desirable to give a more enlar'vd 
 yiroj of the subject, in order to render it really useful and interesting, a 
 
6 MACMILLAN'S CATALOGUE OF WORKS IN 
 
 dtßcuUy often arises as to the choice of books. Two courses are open, either 
 10 take a general and consequently dry history of facts, such as RusseWs 
 Modern Europey or to choose some work treating of a particular period or 
 subject, such as the works op Macaulay and Froude. The former course 
 usually renders history U7iinteresting ; the latter is unsatisfactory because 
 it is not sufficiently comprehensive. To remedy this difficulty, selections ^ 
 continuous and chronological, have in the present volume been taken from 
 the larger works oj Freeman, Milman, Palgrave, Lingard, Hume, and 
 others, which may serve as distinct landmarks of historical reading. 
 " We know of scarcely anything,'' says the Guardian, of this volume, 
 " which is so likely to raise to a higher level the average' standard of English 
 education.^' 
 
 Fairfax (Lord).— a LIFE OF THE GREAT LORD FAIR. 
 FAX, Commander-in-Chief of the Army of the Tarliament of 
 England. By Clements R. Markham, F.S.A. AVith Portraits, 
 ^raps, Plans, and Illustrations. Demy 8vo. i6s. 
 No full Life of the great Parliamentary Commander has appeared ; 
 find it is here sought to produce one — based upon careful research in con- 
 temporary records and upon family and other documents. " Highly 
 useful to the careful student of the History of the Civil War. . . . Pro- 
 bably as a military chronicle Mr. Markham' s book is one of the most fill 
 and accurate that we possess about the Civil War.'' — Fortnightly 
 Rkview. 
 
 Field (E. W.)— 5.^ Sadler. 
 
 Freeman. — Works by Edward A. Freeman, M.A,, D.C.L. 
 
 ''^ That special po7ver over a subject which conscientious and patient 
 research can only achieve, a strong grasp of facts, a true mastery orjcr 
 detail, with a clear and tnanly style — all these qualities Join to make 
 the Historian of the Conquest conspicuous in the intellectual arena." — 
 Academy. 
 
 JIISTORY of federal government, from the Foun- 
 dation of the Achaian League to the Disruption of the United 
 States. Vol. I. General Introduction, History of the Greek 
 Federations. 8vo. 2is. 
 Mr. Freeman's aim, in this elaborate and valuable workj is not so 
 much to discuss the abstract Jiature of Federal Goziernment, as to exhibit 
 its actual luorking in ages and countries widely removed from one another. 
 Four Federal Commonzvealths stand out, in four differe?tt ages of the 7vorld, 
 as commanding aboz'e all others the attention of students of political history^ 
 
 HISTORY, BIOGRAPHY, &- TRAVELS. 
 
 Freeman (E. K.)— continued. 
 
 viz. the Achaian League, the Swiss Cantons, the United Provinces, the 
 United States. The first volume, besides containing a General Introduc- 
 twn, treats of the first of these. In writing this volume the author has 
 endeavoured to combine a text which may be instructive and interesting to 
 any thoughtful reader, whether specially learned or not, with notes lohich 
 may satisfy the requirements of the most exacting scholar. •' The task 
 Mr. Freeman has undertaken" the Saturday Review jö/j-, '*/> one 
 of great magnitude and importance. It is also a task of an almost 
 entirely novel character. iVo other work professing to give the history of 
 a political principle occurs to us, except the slight contributions to the 
 history of representative government that is contained in a course oJ 
 M. Guizot's lectures . . . . The history of the development of a principle 
 is at least as important as the history of a dynasty, or of a race.' 
 
 OLD ENGLISH HISTORY. With Five Coloured Maps. Second 
 Edition. Extra fcap. 8vo., half-bound, ds. 
 
 ''Its object," the Preface says, "is to shcnu that clear, accurate, and 
 scientific views of history, or indeed of any subject, may be easily given to 
 children from the very first. . . . I have throughout striven to connect the 
 history of England with the general history of civilized Europe, and I have 
 especially tried to make the book serve as an incentive to a more accurate 
 study of historic geography. " The rapid sale of the first edition and tlie 
 universal approval ruith which the work has been received prove the correct- 
 ness of the author's notions, and shoiu that for such a book there was ample 
 room. The 7uork is suited not only for children, but will serve as an ex- 
 cellent text-book for older students, a clear and faithjid summary of the 
 history of the period for those who wish to revive their historical know- 
 ledge, and a book full of charms for the general reader. The work is 
 preceded by a complete chronological Table, and appended is an exhaustive 
 and useful Index. In the present edition the whole has been carefully revised, 
 and such improvements as suggested themselves have been introduced. 
 " The book indeed is full of instruction and inteirst to students of all 
 ages, and he must be a well-informed man indeed who will not rise from 
 üs perusal with clearer and more accurate ideas of a too much neglected 
 portion of English history." — Spectator. 
 
 HISTORY OF THE CATHEDRAL CHURCH OF WELLS, 
 as illustrating the History of the Cathedral Churches of the Old 
 Foundation. Crown 8vo. t^s. 6d. 
 
8 MACMILLAN'S CATALOGUE OF WORKS IN 
 
 Freeman (E. A.) — continued. 
 
 * I have here^^' the author says, ^^ tried to treat the history of the 
 Church of Wells as a contrilnition to the general history of the Church 
 and Kingdom of England^ and specially to the history of Cathedral 
 Churches of the Old Foundation. . . . I wish to point out the general 
 principles of the original founders as the model to 7uhich the Old Foun- 
 dations should be brought back, and the New Foimdations reformed after 
 their pattern.''^ " The hisiojy assumes in Mr. Freeman's hands a signi- 
 ficance, and, we may add, a practical ralue as suggestive of 7uhat a cathe- 
 dral ought to be, which rnakc it well worthy of mention.^'' — Spectator. 
 
 HISTORICAL ESSAYS. Second Edition. 8vo. los. 6d 
 
 The principle on which these Essays have been chosen is that 
 of selecting papers which refer to comparatively modern times, or, at 
 least, to the existing states and nations of Europe. By a sort of accident 
 a number of the pieces chosen have thrcnv?i themselves into something like 
 a continuous series bearing on the historical causes of the great events oj 
 1870 — 71. Notes have been added whenr^'cr they seemed to be called for ; 
 and whc)iez'ei' he could gain in accuracy of statement or in force or clear- 
 ness of expression, the author has fi'eely changed, added to, or left out, 
 what he originally wrote. To many of the Essays has been added a short 
 note of the circumstances under which they 7vere W7'itten. It is needless to 
 say that any product of Mr. Freeman's pen is worthy of attentive perusal ; 
 and it is believed that the contents of this volume will throw light on 
 se7'eral subjects 0/ great historical importance and the widest interest. 
 The follo'iving is a list of the subjects: — i. The Mythical and Romantic 
 Elements in Early English History; 2. The Continuity of English 
 Hi<!tory ; 3. TJie Relations between the Crowns of England and Scotland ; 
 4. Saint Thomas of Canterbury and his Biographers ; 5. The Reign oJ 
 Edward the Third; 6. The Holy Romati Empire ; 7. 77ie Fraiiks and 
 the Gattls ; 8. The Early Sieges of Parts ; 9. Frederick the First, King 
 of Italy ; i o. The Emperor Frederick the Second ; 11. Charles the Bold ; 
 12. Presidential Government. ^^ He ntfer touches a question without 
 adding to our comprehension of it, without leaving the impression of an 
 ample knowledge, a Hghteous purpose, a clear and paivoful 7inder- 
 standing. " — SATURDAY Review. 
 
 THE GROWTH OF THE ENGLISH CONSTITUTION FROM 
 THE EARLIEST TIMES. In the press. 
 
 HISTORY, BIOGRAPHY, &^ TRAVELS. 
 
 Galileo.— THE private life of GALILEO. Compiled 
 principally from his Correspondence and that of his eldest 
 daughter, Sister Maria Celeste, Nun in the Franciscan Convent of 
 S. Matthew in Arcetri. With Portrait. Crown 8vo. 7^. 6d. 
 
 It has been the endeavour 0/ the compiler to place before the reader a 
 plain, ungarbled statement of facts ; and, as a means to this end, to allow 
 Galileo, his friends, and his judges to speak for themselves as far as possible. 
 All the best authorities have been made use of, arid all the mata-ials which 
 exist for a Inography have been in this volutne put into a symmetrical form. 
 The result is a most touching picture skilfully arranged of the great heroic 
 man of science and his dn>oted daughter, whose letters air full of the deepest 
 reverential love and trust, amply repaid by the noble soul. The Satur- 
 DAY Review says of the book, ''It is not so much the philosopha- as the 
 man who is seen in this simple and life-like sketch, and the hand which 
 portrays the features and actions is mainly that of one who had studied the 
 subject the closest and the most intimately. This little volume has done 
 much within its slender compass to prove the depth and tenderness of 
 Galileo's heart.'' 
 
 Gladstone (Right Hon. W. E., M.P.)— juVENTUS 
 
 MUNDI. The Gods and Men of the Heroic Age. Crown 8vo. 
 cloth. With Map. io.r. 6d. Second Edition, 
 
 This work of Mr. Gladstone deals especially with the historic element 
 in Homer, expounding that element and furnishing by its aid a full 
 accoufit of the Homei'ic men and the Homeric religion. It starts, after 
 the introducto7y chapter, with a discussion of the sevei'al races then existing 
 in Hellas, including the influence of the Phoinicians and Egyptians. It 
 contains chapters on the Olympian system, with its several deities ; on the 
 Ethics and the Polity of the Heroic age; on the Geography of Homer ; on 
 the characters of the Poems ; presenting, in fine, a view of primitive life 
 and primitive society as found in the poems of Homer. To this New 
 Edition various additions have been made. ^' Seldofu," says the Atwe.- 
 N^UM, ''out of the great poems themselves, have these Divijiities looked 
 so majestic and respectable. To read these brilliattt details is like standing 
 on the Olympian threshold and gazing at the ineffable brightness within." 
 *' There is," according to //^^Westminster Review, "'probably no other 
 writer no^a living 7uho could have done the work of this book. . . It would 
 be dißcult to point out a book that contains so much fulness of knowledge 
 along with so much freshness of perception and clearness of pi-esentation." 
 
lo MACMILLAN'S CATALOGUE OF WORKS IN 
 
 GuizOt. — M. DE BARANTE, a Memoir, Biographical and Auto- 
 biographical. By M. GUIZOT. Translated by the Author of 
 "John Halifax, Gentleman." Crown 8vo. ()s, dd. 
 
 " // is scarcely necessa}y to write a preface to this book. Its lifelike^ 
 /portrait of a true and great matiy fainted unconsciously by himself in his 
 letters and autobiography^ and retouched and completed by the tender hand 
 of his surviving friend— the friend of a lifetime— is sure, I think, to be 
 appreciated in Kngland as it ivas in France, where it appeared in the 
 Revue de Deux Mondes. Also,\ I beliez'e every thoughtful mind will 
 enjoy its clear reflections of French and European politics and history for 
 the last seventy years, and the curious light thus throw)i upon many present 
 events and combinations of circumstances." — Preface. " The highest 
 purposes of both history and biography are answered by a memoir so life- 
 like, so faithful, and so philosophical.'' — British Quarterly Review. 
 " This eloquent memoir, which for tenderness, gracefulness, and vigour, 
 might be placed on the same shelf with Tacitus' Life of A gricola. . . . Mrs. 
 Craik has rendered the language of Guizot in her 07vn yiveet translucent 
 English."— Daily News. 
 
 Heaton (Mrs. C.)— HISTORY OF THE life OF AL- 
 BRECHT DÜRER, of Nürnberg. With a Translation of his 
 Letters and Journal, and some account of his Works. By Mrs. 
 Charles Heaton. Royal 8vo. bevelled boards, extra gilt. 31^. 6d. 
 
 This zvork contains about Thirty Illustrations, ten of which arc produc- 
 tions by the Autotype {carbon) process, and are printed in permanent tints 
 by Messrs. Cundall and Fleming, tinder licence from the Autotype Com- 
 pany, Limited ; the rest are Photographs and Woodcuts. 
 
 Hole. — A GENEALOGICAL STEMMA OF THE KINGS 
 OF ENGLAND AND FRANCE. By the Rev. C. Hole, 
 M.A., Trinity College, Cambridge. On Sheet, is. 
 
 The different families are printed in distinguishing colours, thus facili- 
 tating reference. 
 
 Hozier (H. M.)— Works by Captain Henry M. Hozier, 
 late Assistant Military Secretary to Lord Napier of Magdala. 
 
 THE SEVEN WEEKS' WAR; Its Antecedents and Incidents. 
 Nrcv and Cheaper Edition. With New Preface, Maps, and Plans. 
 Crown 8vo. ds. 
 
 HISTORY, BIOGRAPHY, ^ TRAVELS. 
 
 II 
 
 Hosier (H. yi,)— continued. 
 
 This account of the brief but momentous Austro- Prussian War of 1866 
 claims consideration as being the product of an eye-witness of some of its 
 7nost interesting incidents. The author has attempted to ascertain and 
 to advance facts. Two maps are given, one illustrating the opera- 
 tions of the Army of the Maine, and the other the operations from 
 Koniggrdtz. In the Prefatory Chapter to this edition, events resulting 
 from the war of 1866 are set forth, a fid the current of European history 
 traced dow7i to the recent Franco- Prussian war, a natural consequence 
 of the war whose history is narrated in this volume. ''Mr. Hozier 
 ■added to the knozvledge of military operations and of languages, which 
 he had proved himself to possess, a ready and skilful pen, and ex- 
 cellent faculties of observation and description. . . . All that Mr. 
 Hozier saw of the great events of the war— and he saiu a large share 
 of them— he describes in clear and vivid language."— Saturday 
 Review. " Mr. Hozier' s volumes deserve to take a permanent place 
 in the literature of the Seven Weeks' ^«r."— Pall Mall Gazette. 
 
 THE BRITISH EXPEDITION TO ABYSSINIA. Compiled from 
 Authentic Documents. 8vo. qj. 
 
 Several accounts of the British Expedition have been published. 
 They have, however, been written by those who have not had access to those 
 authentic documents, which cannot be collected directly after the termiiiation 
 of a campaign. The endeavour of the author of this sketch has been ty 
 present to readers a succinct and impartial account of an enterprise wJiich 
 has rarely been equalled in the annals of war. " This^' says the 
 Spectator, " ivill be the account of the Abyssinian Expedition for 
 professional reference, if not for professional reading. Its literary 
 merits are really very great.'' 
 
 THE INVASIONS OF ENGLAND. A History of the Past, with 
 Lessons for the Future. In the press. 
 
 Huyshe (Captain G. L.)--the red RIVER EXPE- 
 DITION. By Captain G. L.' Huyshe, Rifle Brigade, late on 
 the Staff of Colonel Sir Garnet Wolseley. With Maps. 8vo. 
 IOJ-. 6d. 
 
 This account has been written in the hope of directing attention 
 to the successful accomplishment of an expedition which was attended witk 
 more than ordinary dißculties. The author has had access to the official 
 
12 MACMILLAX\S CATALOGUE OF WORKS IiX 
 
 documents of tlie Expedition^ and has also availed himself of the reports 07i 
 the line of route published by Mr. Dawson, C.E.y and by the Typogra- 
 phical Department of the War Office. The statements made may therefore 
 be relied on as accurate and impartial. The endeavour has been made to 
 avoid tiring the general reader with dry details of military movements^ and 
 yet not to sacrifice the character of the work as an account of a militaiy 
 expedition. The volume contains a portrait of President Louis Riel, and 
 Maps of the route. 77/*? Athen.^=:um calls it ^^ an enduring authentic 
 record of one of the most creditable achirc'ements rver accomplished by the 
 British Army." 
 
 Irving.~THE ANNALS OF OUR TIME. A Diurnal of Events, 
 Social and Political, Home and Foreign, from the Accession of 
 Queen Victoria to the Peace of Versailles. By Joseph Irving. 
 Second Edition. 8vo. half-bound. i6j-. 
 
 Every occurrence, metropolitan or provincial, home or foreign, which 
 gave rise to public excitement or discussion, or became the starting point for 
 iieiv trains of thought affecting our social life, has been judged proper matter 
 for this volume. In the proceedings of Parliament, an endeavour has 
 been made to notice all those Debates luhich 7vere either remarkable as 
 affecting the fate of parties^ or led to important changes in our relations 
 with Foreign Powers. Brief notices have been given of the death of all 
 noteiuorthy persons. Though the events are set do7vn day by day in their 
 order of occurrence, the book is, in its way, the history of an important 
 and well-defined historic cycle. In these ''Annals,^ the ordinary reader 
 may make himself acquainted 'with the history of his oxvn time in a way 
 that has at least the merit of simplicity and readiness ; the more cultivated 
 student will doubtless be thankful for the opportunity given him of passing 
 doivn the historic stream undisturbed by any other theoretical or party 
 feeling than what he himself has at hand to explain the philosophy of our 
 national story. A complete and useful Index is appended. The Table 
 of Administrations is designed to assist the reader in folhnving the various 
 political changes noticed in their chronological order in the ^Annals.'' — 
 In the new edition all errors and omissions have been rectified, 300 pages 
 been added, and as many as 46 occupied by an impartial exhibition of the 
 7Vonderful scries of n'ents marking the latter half of 1870. ** We 
 have before us a trusty and ready guide to the events of the past thirty 
 years, available equally for the statesman, the politician, the public 
 writer, and the general reader. If Mr. Irving' s object has been to bring 
 before the reader all the most notavorthy occun-ences which have happened 
 
 HISTORY, BIOGRAPHY, ^ TRAVELS. 
 
 since the beginning of her Majesty's reign, he may justly claim the credit 
 of having done so most briefly, succinctly, and simply, and in such a 
 manner, too, as to furnish him with the details necessary in each case to 
 comprehend the event of which he is in search in an intelligent manner. " 
 —Times. 
 
 Kingsiey (Canon).— Works by the Rev. Charles Kingsley, 
 M.A., Rector of Eversley and Canon of Chester. (For other 
 Works by the same Author, see Theological and Belles 
 Lettres Catalogues.) 
 
 ON THE ANCIEN REGIME as it existed on the Continent before 
 the French Revolution. Three Lectures delivered at the 
 Royal Institution, Crown 8vo. ds. 
 
 These three lectures discuss severally (i) Caste, {2) Centralization, (3) 
 The Explosive Forces by which the Revolution was superinduced. The 
 Preface deals at some length with certain political questions of the present 
 day. 
 
 AT LAST : A CHRISTMAS in the WEST INDIES. With nearly 
 Fifty Illustrations. New and Cheaper Edition. Crown Svo. 
 
 lOJ. dd. 
 
 Mr. Kingsley' s dream of forty years zaas at last fulfilled, when he 
 started on a Christmas expedition to the West Indies, for the purpose of 
 becoming personally acquainted 7uith the scenes ivhich he has so vividly 
 described in " JVest7uard Ho !" These two volumes are the journal of his 
 voyage. Records of natural history, sketches of tropical landscape, chapte?-s 
 on education, 7'ie7vs of society, all find their place in a 7uork written, so to 
 say, under the inspiration of Sir Walter Raleigh and the other adventurous 
 men who three hundred years ago disputed against Philip IL the possession 
 of the Spanish Main. '* We can only say that Mr. Kingsley' s account of 
 a * Christmas in the West Indies ' is in every 7C>ay ivorthy to be classed 
 among his happiest productions'' — STANDARD. 
 
 of Lectures 
 \2s. 
 
 THE ROMAN AND THE TEUTON. A Series 
 delivered before the University of Cambridge. 8vo. 
 
 Co^T^^TS -.—Inaugural Lecture ; The Forest Children; The Dying 
 Empire; The Human Deluge ; The Gothic Civilizer; Dietrich's End; The 
 Nemesis of the Goths; Paulus Diaconus ; The Clergy and the Heathen ; 
 The Monk a Civilizer ; The Lombard Laws ; The Popes and the Lombards ; 
 
14 MACMILLAN'S CATALOGUE OF WORKS IN 
 
 HISTORY, BIOGRAPHY, &^ TRAVELS. 
 
 15 
 
 TAe Strategy of Providence. "//^ luis rnufci'ed^'' says the Noncon- 
 formist, ^'' good senice and shed a nr<;> lustre on the chair of Modern 
 History at Candrndge .... He has thrmvn a charm around the ivork 
 by the may'zicUous fascinations of his o7on genius, hrcmght out in strong 
 relief those great pnnciples of ivhich all history is a rrjelation, lighted 
 up many dark and almost unknorMn spots, and stimulated the desire to 
 understand more thoroughly one of the greatest via-jements in the story of 
 humanity.'''' 
 
 Kingsley (Henry, F.R.G.S.)— For other Works by 5 
 Author, see Belles Lettres Catalogue. 
 
 same 
 
 TALES OF OLD TRAVEL. Rc-narratcd by Henry Kingsley, 
 F.R.G.S. With Eight Illustrations by HuARD. Third Edition. 
 CrovvTi 8vo. ds. 
 
 In this volume Mr. Henry Kingsley re-narrates, at the same time 
 preserving much of the quaintness of the original, some of the most fasci- 
 nating tales of travel contained in the collections of Hakluyt and others. The 
 Contents are— Marco Polo; The Shi/nvrech of Pelsart ; The Wonderful 
 Adventures of Andreiu Battel; The lVande}-ings of a Capuchin; Peter 
 Carder; The Preservation of the '' Terra Ahn'a ;'' Spitzbergen; D'Ermc- 
 nonvilles Acclimatization Adventure; The Old Slave Trade; Miles Philips ; 
 The Sufferings of Robert Everard ; John Fox; Alvaro Nunez; The Foun- 
 dation of an Empire. ** We know no better Imk for those 7uho want 
 knowledge or seek to refresh it. As for the ^sensational,' most n<K'els arc 
 tame compared ivith these narratives.^' — Athenäum. '■^Exactly the 
 hook to interest and to do good to intelligent and Jrigh -spirited boys."' — 
 Literary Churchman. 
 
 Macmillan (Rev. Hugh).— For other Works by same Author, 
 see Theological and Scientific: Catalogues. 
 
 m 
 
 HOLIDAYS ON IHGH LANDS ; or, Rambles and Incidents 
 search of Alpine Plants. Crown 8vo. cloth. 6j. 
 
 Tfie aim of this book is to iinpart a general idea of the origin, character, 
 and distribution of those rare and beaut if id Alpine plants which occur on 
 the British hills, and which are found almost n^cryivherc on the lofty 
 mountain chains of Europe, Asia, Africa, and America. The informa- 
 tion the author has to give is con7>eyed in untechnical language, in a 
 setting oj personal adventure, and associated with descriptions of the 
 
 natural scenery and the peculiarities of the hujiian life in the midst of which 
 the plants were found. By this method the subject is made interesting t» 
 a very large class of reada-s. ''Botanical kncnvledge is blended with a 
 lave of nature, a pious enthusiasm, and a rich felicity of diction not to be 
 met with in any works of kindred character, if we except those of Hu(^h 
 Miller. "— TELEGRAni. * ' Mr. M. 's gl(nving pictures of Scandinavian 
 scenery.'''' — Saturday Review. 
 
 Martin (Frederick)._THE STATESMAN'S YEAR-BOOK : 
 See p. 36 of this Catalogue. 
 
 Martineau.— BIOGRAPHICAL SKETCHES, 1852-1868. 
 By Harriet Martineau. Third and Cheaper Edition, with 
 New Preface. Crown 8vo. ds. 
 
 A Collection of Memoirs under these sroeral sections :—{i) Royal, {2) 
 Politicians, (3) Professional, (4) Scientific, (5) Social, (6) Litei-ary. These 
 Memoirs appeared originally in the columns of the Daily News. " Miss 
 Martineau' s large literary po^vers and her fine intellectual training make 
 these little sketches more instructive, and cojistitiite them more genuinely 
 
 works of art, than many more ambitious and diffuse biographies. " 
 
 Fortnightly Review. ''Each memoir is a complete digest of a 
 celebrated life, illuminated by the flood of searching light which streams 
 from the gaze oJ an acute but liberal mind ." — Morning Star. 
 
 Masson (David) — For other Works by same Author, see Philo- 
 sophical and Belles Lettres Catalogues. 
 
 LIFE OF JOHN ÄIILTON. Narrated in connection with the 
 Political, Ecclesiastical, and Literary History of his Time. By 
 David Masson, M. A., LL.D., Professor of Rhetoric and English 
 Literature in the University of Edinburgh. Vol. I. with Portraits. 
 8vo. iSj-. Vol. IL, 1638— 1643. 8vo. Yds. Vol. HI. in the 
 press. 
 
 This work is not only a Biography, but also a continuous Political, 
 Ecclesiastical, and Literary History of England through Milton's whole 
 time. In order to understand Milton, his position, his tnotives, his 
 thoughts by himselj, his public words to his C9untiymen, arid the probable 
 effect of those words, it was necessary to refer largely to the History of his 
 Time, not only as it is presented in well-known books, but as it had to be 
 rediscovered by express and laborious investigation in original and Jorgotten 
 
 fcij 
 
i6 MACMILLAN'S CATALOGUE OF WORKS IN 
 
 HISTORY, BIOGRAPHY, &- TRAVELS. 
 
 17 
 
 records : tJms of the Biography, a History grrui : not a mere popular 
 campllation, but a work of independent search atui ?nethod from first to 
 last, which has cost more labour by far than the Biography, The second 
 volume is so arranged that the reader may select or omit either the History 
 or Biography. The NoRTii British Review, speaking 0/ the first 
 volume of this work said, ' * The Life of Milton is here written once for 
 all.^' The Nonconformist, in noticing the second volume, says, ^'^ Its 
 literary excellence entitles it to take its place in the first ranks of our 
 titei'ature, while the 7vhole style of its execution marks it as the only book 
 that has done anything like adequate justice to one of the great masters of our 
 language, and one of our truest patriots, as well as our greatest epic poet.'' 
 
 Mayor (J. E. B.)_\VORKS Edited By John E. B. Mayor, 
 M.A., Fellow of St. John's College, Cambridge. 
 
 CAMBRIDGE IN THE SEVENTEENTH CENTURY. Part II. 
 Autobiography of Matthew Robinson. Fcap. 8vo. ^s. 6d. 
 
 This is tJie second of the Memoirs illustrative of ^'■Cambridge in the 
 Seventeenth Century,'' that of Nicholas Farrar having preceded if. It gives 
 a lively picture of England during the Civil Wars, the most impoi'tant 
 crisis of our national life ; it supplies materials for the history of the 
 [university and our Endo7i.>ed Schools, and gives its a vieiv of country 
 clergy at a time when they are supposed to have been, with scarce an ex- 
 ception, scurrilous sots. Mr. Mayor has added a collection of extracts and 
 documents relating to the history of srjcral other Cambridge men of note 
 belonging to the same period, all, like Robinson, of Nonconformist leanings. 
 
 LIFE OF BISHOP BEDELL. By his Son. Fcap. 8vo. 
 
 (>d. 
 
 This is the third of the Memoirs illustrative of" Cambridge in the \*]th 
 Century.'"' The life of the Bishop of Kilmore here printed for the first time 
 is preserved in the Tanner MSS., and is pi'eliminary to a larger one to be 
 issued shortly. 
 
 Mitford (A. B.)— TALES OF OLD JAPAN. By A. B. 
 MiTFORD, Second Secretary to the British Legation in Japan. 
 With upwards of 30 Illustrations, drawn and cut on Wood by 
 Japanese Artists. Two Vols, crown 8vo. 2ls. 
 
 Under the influence of more enligh tested ideas and of a liberal sy stein of 
 policy, the old Japanese civilization is fast disappearing, and will, in 'a 
 
 few years, be completely extinct. It was important, therefore, to presene 
 as far as possible trustworthy records of a state of society -which, although 
 venerable from its antiquity, has for Europeans the dawn op novelty ; 
 hence the series oj narratives and legends translated by Mr. Mitford, 
 and in which the Japanese are very judiciously left to tell their oivn tale. 
 The two volumes comprise not only stories and episodes illustrative of 
 Asiatic superstitions, but also three sermons. The preface, appetuiices, 
 and notes explain a number of local peculiarities ; the thirty-one woodcuts 
 arc the genuine work of a native aiiist, who, unconsciously of course, has 
 adopted the process first introduced by the early German masters. " These 
 very original volumes will always be inte^-esting as memorials of a most 
 exceptional society, while regarded simply as tales, they are sparkling, sensa- 
 tional, and dramatic, and the originality of their ideas and the quaintness 
 of their language give them a most captivating piquancy. The illustra- 
 tions are extremely interesting, and for the curious in such matters have 
 a special and particular value." — Pall Mall Gazette. 
 
 Morley (John).— EDMUND burke, a Historical Study. By 
 John Morley, B.A. Oxon. Crown 8vo. 7^. 6d. 
 
 " The style is terse and incisive, and brilliant with epigj-am and point. 
 It contains pithy aphoristic sentences which Burke himself would not have 
 disowned. Its sustained poiuer of reasoning, its wide sweep of observation 
 and reflection, its ele7>ated dhical and social tone, stamp it as a work oj 
 high excellence."— ^KTiJ'R.TiiCi Review. "^ model of compact conden- 
 sation. We have seldom met with a book in which so much matter was 
 compressed into so limited a space. "—Pall Mall Gazette. ''An essay 
 of unustial effort." — Westminster Review. 
 
 Morison.— THE LIFE AND TIMES OF SAINT BERNARD, 
 Abbot of Clair vaux. ByjAMES Cotter Morison, M.A. Cheaper 
 Edition. Crown 8vo. 4^. (>d. 
 
 The Pall Mall Gazette calls this " one of the best contributions in 
 our literature toivards a vivid, intelligent, and worthy knowledge of 
 European interests and thoughts and feelings during the tii^elßh century. 
 A delightful and instructive volume, and one 0/ the best products of the 
 modern historic spirit." ^' A work," says the Nonconformist, *'«-/ 
 great merit and value, dealing most thoroughly with one of the wnst in- 
 teresting characters, and one of the most interesting periods, in the Churcl 
 history of the Middle Ages. Mr. Monson is.thoroughly master of his subject, 
 
 B 
 
1 8 MACMILLAN'S CATALOGUE OF WORKS IN 
 
 HISTOR I ; BIOGRAPHY, &- TRA VELS. 
 
 19 
 
 am/ 7untes xvitk great disoimination and fairness, and in a chaste and 
 elegant styled The Sfeci'ATOR says it is **not only distinguished by 
 research and candour, it has also the great merit of never being duliy 
 
 Palgrave (Sir F-.)— HISTORY OF NORMANDY AND 
 OF ENGLAND. By Sir Francis Palgrave, Deputy Keeper 
 of Her Majesty's Public Records. Completing the History to the 
 Death of William Rufus. Four Vols. 8vo. £^ 4$-. 
 
 Volume I. General Relations of Mediarual Europe — The Carhrvingian 
 Empire — The Danish Expeditions in the Gauls — And the Establishment 
 of Rollo. Volume II. The Three First Dukes oj Normandy ; Rollo^ 
 Guillaume Longue-Epee, and Richard Sans-Pmr — The Carlovingian 
 line supplanted by the Capets, Volume III. Richard Sans- Feu r — 
 Richard Le-Bon — Richard III. — Robert Le Diable — William the Con- 
 queror. Volume IV. William Rufus — Accession of Henry Beauclerc. 
 If is needless to say anything to recommend this 7vorh of a lifetime to all 
 students of history ; it is, as the Spectator says, *^ perhaps the greatest 
 single contribution yet made to the authentic annals of this country,"" and 
 " musf,^' says the NONCONFORMIST, ^* always rank among our standard 
 authorities.^^ 
 
 Palgrave (W. G.) — A NARRATIVE OF A YEAR'S 
 JOURNEY THROUGH CENTRAL AND EASTERN 
 ARABIA, 1S62-3. By liam Gifford Palgrave, late of 
 
 the Eightli Regiment Bombay N. I. Sixth Edition. With Maps, 
 Plans, and Portrait of Author, engiaved on steel by Jeens. Crown 
 8vo. 6s. 
 
 " jyie work is a model of what its class should be ; the style restrained, 
 the narrative clear, telling us all we imsh to kno7J of the country and 
 people visited, a)id enough of the author and his feelings to enable us to 
 trust ourselves to his guidance in a tract hitherto untrodden, and dangerous 
 in more senses than one. . . He has not only written one of the best books 
 on the Arabs and one of the best books on Arabia, but he has done so in a 
 wanner that must command the respect no less than the admiration of his 
 fe/lo7v-countrymen.''—y ORTfiiGHTLY Review. " Considering the extent 
 of our previous ignorance, the amount of his achievements, and the im- 
 portance of his contributions to our knowledge, we cannot say less of him 
 th^n was once said of a far greater discoverer — Mr. Palgrave has indeed 
 i^iven a new world to Europe.'" — Pall Mall Gazette. 
 
 Paris.— INSIDE PARIS DURING THE SIEGE. 
 Oxford Graduate. Crown 8vo. 7^. 6d. 
 
 By 
 
 an 
 
 This volume consists of the diary kept by a gentleman who lived in Paris 
 during the whole of its siege by the Prtissiatis. He had many facilities for 
 coming in contact with men of all parties and of all classes, and ascertain- 
 ing the actual motives which animated them, and their real ultimate aims. 
 These facilities he took advantage of and in his diary, day by day, care- 
 fully recorded the results of his obso-vations, as well as faithfdly but 
 graphically photographed the various incidents of the siege which came 
 under his o-.vn notice, the actual condition of the besieged, the sayings and 
 doings, the hopes and fears of the people among whom he freely nuroed. 
 In the Appendix is an exhaustive and elaborate account of the Orgaiiization 
 of the Republican party, sent to the author by M. J ides Andricu ; and a 
 translation of the Manifesto of the Commune to the People of England, 
 dated April ig, 187 1. ''The author tells his story admirably. The 
 Oxford Graduate seems to have gone everyivhere, heard what everyone had 
 to say, and so been able to give us photographs of Paris life during the 
 siege which we have not had from any other source.'' — Spectator. 
 "//.' has written brightly, lightly, and pleasantly, yet in perfect good 
 taste." — Saturday Re\ iew. 
 
 Prichard.— THE ADMINISTRATION OF INDIA. From 
 1859 to 1868. The First Ten Years of Administration under the 
 Crown. By Iltudus Thomas Prichard, Barrister-at-Law. 
 Two Vols. Demy 8vo. With Map. 21s. 
 
 In these volumes the author has aimed to supply a full, impartial, and 
 independent account of British India between 1859 and \%t>%— which is 
 in many respects the most important epoch in the history of that country 
 that the present century has seen. " // has the great mait that it is not 
 exclusively drooted, as are too many histoHes, to military and political 
 details, but enters thoroughly into the more important questions of social 
 history. We find in these volumes a well-arranged and compendious 
 reference to almost all that has been done in India during the last ten 
 years ; and the most important oßcial documents and historical pieces are 
 well selected and duly set forth." — Scotsman. '"// is a tvork which 
 eivery Englishman in India ought to add to his library."— %ta^ of 
 India. 
 
 £ 2 
 
20 MACMILLAN'S CATALOGUE OF WORKS IN 
 
 HISTORY, BIOGRAPHY, &* TRAVELS. 
 
 21 
 
 Robinson (H. Crabb)— THE DIARY, REMINISCENCflS, 
 AND CORRESPONDENCE, OF HENRY CRABB ROBIN- 
 SON, Barrister-at-Law. Selected and Edited by Thomas 
 Sadler, Ph.D. With Portrait Third and Cheaper Edition. 
 Two Vols. Crown 8vo. i6s. 
 
 The Daily News says: " The tiuo hooks which arc most likely to 
 sunive change of literary taste^ and to charm while instructing generation 
 after generation, are the 'Diary' of Pcpys and BosiuelVs ''Life of 
 Johnson. ' The day zvill come tuhen to these many will add the ' Diary of 
 Henry Crahb Robinson.' Excellences like those which render the personal 
 rrMations of Pepys and the observations of Bord'cll such pleasant reading 
 aboujul in this 7uork . ... In it is to he found something to suit every taste 
 and inform rjery mind. For the general reader it contains much light and 
 amusing matter. To the loz'er of literature it conveys information which 
 he will prize highly on account of its accuracy and rarity. The student of 
 social life will gather from it many valuable hints whereon to base 
 theories as to the effects on English society of the progress of civilization. 
 For these and other reasons this * Diary ' is a work to zvhich a hearty 
 welcome should he accorded. " 
 
 Rogers (James E. Thorold).— HISTORICAL GLEAN- 
 INGS : A Series of Sketches. Montague, Walpole, Adam Smith, 
 Cobbett. By Prof. Rogers. Crown 8vo. 4J. 6d. Second Series. 
 Wiklif, Laud, Wilkes, and Home Tooke. 
 
 Crown 8vo. (>s. 
 
 Professor Rogers's object in these sketches, which are in the fortn of 
 Lectures, is to present a set of historical facts, grouped round a prijtcipal 
 figure. The author has aimed to state the social facts of the time in 
 which the individual whose history is handled took part in public business. 
 It is from sketches like these of the great men who took a prominent 
 and influential part in the affairs of their time that a clear conception of 
 the social and economical condition of our ancestors can be obtained. 
 History learned in this way is both instructive and agreeable. " His Essays, " 
 the Pall Mall Gazette says, "■ are full of interest, prgnant, thoughtful, 
 and readable.'' *' They rank far above the average of similar perfor- 
 mances," says the WESTMINSTER Revie\y. 
 
 Raphael.— RAPHAEL OF URBINO AND HIS FATHER 
 GIOVANNI SANTI. By J. D. Passavant, formeriy Director 
 of the Museum at Frankfort. With Twenty Permanent Photo- 
 graphs. RoyDl 8vo. Handsomely bound, ^is. td. 
 
 lo the enlarged French edition of Passavant' s Life of Raphael, that 
 
 painter's admirers have turned 7vhenever they have sought information, 
 
 ami it ivill doubtless remain for many years the best book of reference on 
 
 all questions pertaining to the great painter. The present work consists 
 
 of a trajis/ation of those paj'ts of Passavant' s volumes which are most 
 
 likely to ii der est the general reader. Besides a complete life of Raphael, it 
 
 contains the valuable descriptions of all his known paintings, and the 
 
 Chronological Index, which is of so much serviee to amateurs xvho wish to 
 
 study the progressive character of his works. The Illustrations by 
 
 Woodbury's nnu permanent process of photography, are taken from the 
 
 finest engravings that could he procured, and have been chosen with the 
 
 intention of giving examples of Raphael's various styles of painting. The 
 
 Saturday Review says of theyn, *' We have seen not a fexu elegant 
 
 specimens of Mr. Woodbujys new process, but we have seen none that 
 
 equal these. " 
 
 Sadler.— EDWIN WILKINS field. a Memorial Sketch- 
 By Thomas Sadler, Ph.D. With a Portrait. Crown Svo. a^. 6d. 
 
 Mr. Field 7uas well known during his life-time not only as an eminent 
 lawyer aiid a strenuous and successfid advocate of law reform, but, both 
 in England and Atnerica, as a f?ian of wide and thorough cidture, varied 
 tastes, largc-heartedness, and lofty aims. His sudden death was looked 
 upon as a public loss, and it is expected that this brief Memoir will be 
 acceptable to a large number outside of the many friends at zt'hose request 
 it has been written. 
 
 Somers (Robert).— THE SOUTHERN STATES SINCE 
 THE WAR. By Robert Somers. With Map. 8vo. 9^-. 
 
 This work is the result of inquiries made by the author of all authorities 
 compete fit to afford him information, and of his 07vn observation during a 
 lengthened sojourn in the Southern States, to which ivritei's on America so 
 seldom direct their steps. The author's object is to give some account of the 
 conditiojt of the Southern States under the new social ajtd political system 
 introduced by the civil wai'. He has here collected such notes of the progress 
 of their cotton plantations, of the state of their labouring population and of 
 their industrial enterprises, as may help the reader to a safe opinion of 
 their means and prospects of development. He also gives such information 
 of their natural resources, railways, and other public works, as may 
 tend to shoiv to what extent they are fitted to become a profitable field of 
 
22 MACMILLAN'S CATALOGUE OF WORKS IN 
 
 enlarged immigration^ settlement, and foreign trade. The volume contains 
 many valuable and reliable details as to the condition of the Negro popula- 
 tion, the state of Education and Religion, of Cotton, Sugar, and Tobacco 
 Cultivation, of Agriculture generally, of Coal and Iron Mining, Manu- 
 factures, Trade, Means of Locomotion, and the condition of Torvns and op 
 Society. A large map of the Southern States by Messrs, JV. affd A. K. 
 Johnston is appended, which sho7vs with great clear juss the Cotton, Coal, 
 and Iron districts, the raihvays completed and projected, the State boundaries, 
 and other important details. " Full of interesting and 7<aluable informa- 
 tion.' '—S\T\]KT>\\ Review. 
 
 Smith (Professor Goldwin). — THREE 
 
 STATESMEN. See p. 37 of this Catalogue. 
 
 ENGLISH 
 
 Streets and Lanes of a City. — See Dutton (Amy) p. 31 
 
 of this Catalogue. 
 
 Tacitus.— THE HISTORY OF TACITUS, translated into 
 English. By A. J. Church, M.A. and W. J. Brodribb, M.A. 
 With a Map and Notes. 8vo. los. 6d. 
 
 The translators have endeavoured to adhere as closely to the original as 
 was thought consistent ivith a proper obse7'vance of English idiom. At 
 the same time it has been their aim to reproduce the precise expressions of 
 the author. This work is characterised by the Spectator as *' a scholarly 
 andfaithjul translation.'^'* 
 
 THE AGRICOLA AND GERMANIA. Translated into English by 
 A. J. Church, M.A. and W. J. Brodribb, M.A. With Maps 
 and Notes. Extra fcap. 8vo. 2s. dd. 
 
 The translators have sought to produce such a version as may satisfy 
 scholars who demand a faithful rendering of the original, and English 
 readei-s who are offended by the baldness and frigidity which commonly 
 disfigure translations. The treatises are accompanied by Introductions, 
 Notes, Maps, and a chronological Summary. The Athenaeum says of 
 this work that it is " a version at once readable and exact, which may be 
 perused with pleasure by all, and consulted with advantage by the classical 
 student;'' and the 'Pai.j. Mall Gazette says," IVhat the editors have 
 attempted to do, it is not, we think probable that any living scholars could 
 hoTfe done better. ^^ 
 
 HISTORY, BIOGRAPHY, <5- TRAVELS. 
 
 23 
 
 Taylor (Rev. Isaac).— WORDS and PLACES. 
 
 p. 44 of tliis Catalogue. 
 
 See 
 
 Trench (Archbishop).— For other Works by the same Author, 
 see Theological and Belles Lettres Catalogues, and p. 45 
 of this Catalogue. 
 
 GUSTAVUS ADOLPHUS : Social Aspects of the Thirty Years, 
 War. By R. Chenevix Trench, D.D., Archbishop of Dublin. 
 Fcap. 8vo. 2s. 6d. 
 
 ** Clear and lucid in style, these lectures iinll be a treasure to many t(s 
 whom the subject is unfamiliar.'''' — Dublin Evening Mail. " IVtese 
 Lectures are vizid and graphic sketches: the first treats of the great: 
 King of Sxveden, and of his character rather than of his actions ; the 
 second describes the condition of Germany in that dreadful time zühen- 
 famine, biUtles, atui pestilence, though they exterminated three-fourths of the 
 population, were Jess terrible than the fiend-like cruelty, the utter lawless- 
 ness and depravity, bred of long anarchy and sußhing. The substance of ' 
 the lectures is drawn from contemporary accounts, which give to then: 
 especial freshness and life^ — Literary Churchman. 
 
 Trench (Mrs. R.)— Remains of the late Mrs. RICHARD 
 TRENCH. Being Selections from her Journals, Letters, and 
 other Papers. Edited by Archbishop Trench. New and 
 Cheaper Issue, with Portrait. 8vo. 6j-. 
 
 Contains Notices and Atiecdotes illustrating the social life of the period' 
 — extending over a quarter of a cejitury {1799 — 1827). H includes also 
 Poems and other miscellaneoits pieces by Mrs. Trench. 
 
 Wallace. — Works by Alfred Rüssel Wallace. For otliei: 
 Works by same Author, see Scientific Catalogue^ 
 
 Br. Hooker, in his address to the British Association, spoke thus of the 
 author ;— ** Of Mr. Wallace and his many contributions to philosophical 
 biology it is not easy to speak without enthusiasm ; for, putting aside their 
 great merits, he, throughout his 7vritings, with a fnodesty as rare as l' 
 beliei'e it to be utuonscious, forgets his own unquestioned claim to the horn vir 
 of having originated, independently of Mr. Darwin, the theories which' 
 he so ably defends.'^ 
 
24 
 
 MACMILLAN'S CATALOGUE OF WORKS IN 
 
 HISTORY, BIOGRAPHY, ^ TRAVELS. 25 
 
 Wallace (A. ^.)— continued. 
 
 A NARRATIVE OF TRAVELS ON THE AMAZON AND 
 RIO NEGRO, with an Account of the Native Tribes, and Obser- 
 vations on the Climate, Geology, and Natural History of the 
 Amazon Valley. With a Map and Illustrations. 8vo. lis. 
 Mr. Wallace is ackncnvlcdged as one of the first of modern travellers 
 
 and naturalists. This, his earliest work, will be found to possess many 
 
 charms for the general reader, and to be full of interest to the student of 
 
 natural history. 
 
 THE MALAY ARCHIPELAGO : the Land of the Orang Utan 
 and the Bird of Paradise. A Narrative of Travel with Studies 
 of Man and Nature. With Maps and Illustrations, Third and 
 Cheaper Edition. Crown 8vo. 7^. (>d. 
 
 " The result is a vivid picture of tropical life, which may be 7-ead with 
 unflagging interest, and a sufficient account of his scientific conclusions to 
 stimulate our appetite without wearying us by detail. In short, ive may 
 safely say that we have never read a more agreeable book of its kind.'' — 
 Saturday Review. *^ His descriptions of scenery, of the people and 
 their manners and customs, enlivened by occasional amusing anecdotes, 
 constitute the most interesting reading we have taken up for some time.'' — 
 Standard. 
 
 Ward (Professor).— THE HOUSE OF AUSTRIA IN THE 
 THIRTY YEARS' WAR. Two Lectures, with Notes and Illus- 
 trations. By Adolphus W. Ward, M.A., Professor of History 
 in Owens College, Manchester. Extra fcap. 8vo. 2s. 6d. 
 These tivo Lectures 7vere delivered in February, 1869, at the Philosophical 
 Institution, Edinburgh, and arenozv published with Notes and Illustrations, 
 bear more thoroughly the impress of one who has a true and vigorous grasp 
 " We have never read," says the Saturday Review, ^^ any lectures zvhich 
 of the subject in hand." ** They are," the Scotsman says, ''the fruit of 
 much labour and learning, and it would be difficidt to compress into a 
 hundred pages more information" 
 
 Warren.— AN ESSAY ON GREEK FEDERAL COINAGE. 
 By the Hon. J. Leicester Warren, M.A. 8vo. 2s. 6d. 
 
 The present essay is an attempt to illustrate Mr. Freeman s Federal 
 Gaiernment try ez'idence deduced from the coinage of the times and countries 
 therein treated of 
 
 Wedgwood.— JOHN WESLEY AND THE EVANGELICAL 
 REACTION of the Eighteenth Century. By JULIA Wedgwood. 
 Crown 8vo. Sj. 6d. 
 
 This book is a7i attempt to delineate tJie influence of a particular man 
 upon his age. The backg-round to the central figure is treated with 
 considerable minuteness, the object of representation being not the vicissitude 
 of a particular life, but that elemetit in the life which impressed itself oti 
 the life of a nation, — an element which cannot be understood without a 
 study of aspects of national thoztght which on a superficial vieru might 
 appear 7vholly unconnected with it. ''In style and intellectual powa-, in 
 breadth of 7>ieiu and clearness of insight. Miss Wedgwood's book far 
 surpasses all rivals^ — Athenaeum. "As a short account of the most 
 remarkable movement in the eighteenth century, it must fairly be described 
 as excellent." — Pall Mall Gazette. 
 
 Wilson. — A MEMOIR OF GEORGE WILSON, M. D., 
 F.R.S.E., Regius Professor of Technology in the University of 
 
 Edinburgh. 
 
 By his Sister. New Edition. Crown 8vo. ds. 
 
 " An exquisite and touching portrait of a rare and beautiful spirit." — 
 Guardian. "He more than most men of whom we have lately read 
 desei'ved a minute and cai'eful biography, and by such alone could he be 
 understood, and become loveable and influential to his fellow-men. Such 
 a biography his sister has written, in zvhich letters reach almost to the 
 extent of a complete autobiography, with all the additional charm of bein^ 
 unconsciously such. We revere and admire the heart, and earnestly praise 
 the patient tender hand, by which such a zvorthy record of the earth-stojy 
 of one of God's true angel-rnen has been constructed for our delight and 
 profit." — Nonconformist. 
 
 Wilson (Daniel, LL.D.) — Works by Daniel Wilson, 
 LL.D., Professor of History and English Literature in University 
 College, Toronto : — 
 
 PREHISTORIC ANNALS OF SCOTLAND. New Edition, 
 with numerous Illustrations. Two Vols, demy 8vo. 36^. 
 
 One object aimed at when the book first appeared was to rescue archcEological 
 research fi om that limited range to which a too exclusive drjotion to classical 
 studies had given rise, and, especially in relation to Scotland, to prove how 
 greatly more comprehensive and important are its native antiquities than all 
 
36 MACMILLAN'S CATALOGUE OF WORKS IS 
 
 Wilson (Daniel, LL.D.)— ,w///////^,/. 
 
 the traces of intruded art. The aim has been to a lai-^e extent effectually 
 accomplished, and such an impulse given to arehcrologieal research, that in 
 this new editioft the whole of the work has had to he remodelled. Fully a 
 third of it has been entirely re-written; and the remaiiting portions have 
 undergone so minute a revision as to render it in many respects a new 
 work. The number of pictorial illustrations has been greatly increased, 
 and several of the former plates and woodcuts ha7>e been 7-e-engra''ed 
 from new drawings. This is divided into four Farts. Fart I. deals 
 with The Primeval or Stone Period : Aboriginal Traces, Sepulchral 
 Memorials, Dwellings, and Catacombs, Tetnples, Weapons, etc. etc.; 
 Fart 21. The Bronze Period : The Metallurgie Transition, Frimitivt 
 Bronze, Personal Ornaments, Religion, Arts, and Domestic Habits, with 
 other topics ; Fart III. The Iron Period : The Introduction of Iron, The 
 Roman Invasion, Strongholds, etc. etc.; Fart IV. The Christian Period : 
 Historical Data, the Norrie' s Law Relics, Frimitive and Mediaval 
 Eeclesiology, Ecclesiastical and Miscellaneous Antiquities. The work is 
 furnished with an elaborate Index. " One of the most interesting, learned, 
 and elegant works we have seen for a long time.'''' — Westminster 
 Review. " The intei-est connected with this beautiful volume is not 
 limited to that pari of the kingdom to Tvhich it is chiefly de7'oted ; it will be 
 consulted with advantage and gratiflcation by all who have a regard for 
 National Antiquities and for the advancement of scientific Archceology.^'' — 
 Arch^ological Journal. 
 
 PREHISTORIC MAN. New Edition, revised and partly re-written, 
 veith numerous Illustrations. One vol. 8vo. ils. 
 
 This work, which carries out the principle of the preceding one, but with 
 a wider scope, aims to " virtv Man, as far as possible, unaflected by those 
 modifying influences which accompany the development of nations atid the 
 maturity of a true historic period, in order thereby to ascertain the sources 
 from whence such dn>elopment and maturity pi'oceed. These researches 
 into the origin of civilization have accordingly been pursued under the belief 
 which influenced the author in previous inquiries that the investigations 
 cf the archaeologist, when carried on in an enlightened spirit, are replete 
 with interest in relation to so?ne of the most important problems of modern 
 science. To reject the aid of arehceology in the progress of science, and 
 especially of ethnological science, is to extinguish the lamp of the student 
 when most ilependent on its borrozued rays." A prolonged residence on 
 some of the nervest sites of the Ne7u World has afl^orded the author many 
 
 HISTORY, BIOGRAPHY. &^ TRAVELS. 
 
 27 
 
 Wilson (Daniel, L,L,.D.)— continued 
 
 opportunities of investigating the antiquities of the American Aborigines, 
 and of bringing to light many facts of high importance in reference to 
 primez'al man. The changes in the nero edition, necessitated by the great 
 advance in A re /urology since the first, include both reconstruction and 
 condensation, along with considerable additions alike in illustration and 
 in argument. *' We find,'' says the Athen.^uM, " the main idea of his 
 treatise to be a pre-eminently scientific one, — namely, by archccological 
 records to obtain a definite conception of the origin and nature of man's 
 earliest efforts at civilization in the Nr.u World, and to endeavour to dis- 
 cover, as if by analogy, the necessary conditions, phases, and epochs through 
 which man in the prehistoric stage in the Old World also must necessarily 
 have passed:' The North British Review calls if ** a mature and 
 nullow work of an able man ; free alike from crotchets and from dog' 
 matism, and exhibiting on every page the caution and moderation of a 
 well-balanced judgment. " 
 
 CHATTERTON: A Biographical Study. By Daniel Wilson, 
 LL.D., Professor of History and English Literature in University 
 College, Toronto. Crown 8vo. 6j-, dd. 
 
 The author here regards CJiatterton as a poet, not as a ^^ mere resetter 
 and defacer of stolen literary treasures.'' Reviewed in this light, he has 
 found much in the old materials capable of bang turned to nroj account : 
 and to these materials research in various directions has eitabled him to 
 make some additions. He believes that the boy-poet has been misjudged, and 
 that the biographies hithei'to written of him arc ne»t only imperfect but 
 untrue. While dealing tenderly, the author has sought to deal truthfully 
 with the failings as 7vell as the virtues of the boy : bearing always in 
 remembrance, what has been too frequently lost sight of, that he was but a 
 boy ;~a boy, and yet a poet of rare pozver. The Examiner thinks this 
 *Uhe most complete and the purest biography of the poet which has yd 
 appeared." The Literary Churchman calls if ^' a most charming 
 literary biography. " 
 
 Yonge (Charlotte M.)— Works by Charlotte M. Yonge, 
 Author of "The Heir of Redely fife," &c. &c. :— 
 
 A PARALLEL HISTORY OF FRANCE AND ENGLAND; 
 consisting of Outlines and Dates. Oblong 4to. 3-r. 6d. 
 This tahdar history has been drawn up to supply a want felt by many 
 teachers of some means of making their pupils realize what events , in the 
 
ra 
 
 28 
 
 MACMILLAN'S CATALOGUE. 
 
 Yonge (Charlotte Vl.)— continued. 
 
 two countries were contemporary. A skeleton narrative has been constructed 
 f)f the chief transactions in either country^ placing a column behueen for 
 ■what affected both alike^ by which nieaiis it is hoped that young people may 
 be assisted in grasping the mutual relation of events. 
 
 CAMEOS FROM ENGLISH HISTORY. From Rollo to Edward 
 II. Extra fcap. 8vo. Second Edition, enlarged. 5^. 
 A Second Series, THE WARS IN FRANCE. Extra fcap. 
 8vo. ^s. 
 
 The etuleavour has not been to chronicle facts, but to put together a series 
 of pictures of persons and events^ so as to arrest the attention, and give 
 some individuality and distinctness to the recollection, by gathering together 
 details of the most memorable moments. The ' ' Cameos " are intended as 
 a booh for young people ßtst beyond the elementary histories of England, 
 and able to enter in some degree into the real spirit of events, and to be 
 struck with characters and scerics presented in some relief *■'■ Instead of 
 dry details,''' says the NONCONFORMIST, ** we have living pictures, faithful, 
 7'ivid, and striking.^^ 
 
 Young (Julian Charles, M.A.)— A MEMOIR OF 
 
 CHARLES MAVNE YOUNG, Tragedian, with Extracts 
 from his Son's Journal. By JULIAN Charles Young, M.A. 
 Rector of Ilmington. With Portraits and Sketches. Neiü and 
 Cheaper Edition. Crown 8vo. 7^. dd. 
 
 Round this memoir of one who held no mean place in public estimation 
 as a tragedian, and who^ as a man, by the unobtrusive simplicity and 
 moral purity of his private life, won golden opinions frofu all sorts of men, 
 are clustered extracts from the author's Journals, containing many 
 curious and interesting reminiscences of his father's and his aivti ejninent 
 and famous contemporaries and acquaintances, somnvhat after the manner 
 of If. Crabb Robinson's Diary. Every page will be found jull both oj 
 entertainment and instruction. It contains four portraits of the tragedian, 
 and a few other curious sketches. " In this budget of anecdotes, fables, and 
 gossip, old and neiv, relative to Scott, Moore, Chabners, Coleridge, Words- 
 worth, Croker, Mathe^vs, the third and fourth Geoiges, Bolides ^ Beckford, 
 J.ockhart, Wellington, Peel, Louis Napoleon, D'Orsay, Dickens, 
 Thackeray, Louis Blcnc^ Gibson, Constable, and Stan field, etc. etc. the 
 reader must be hard indeed to please who cannot find etttertainmeftt.'^ — 
 Pall Mall Gazette. 
 
 POLITICS, POLITICAL AND SOCIAL 
 ECONOMY, LAW, AND KINDRED 
 SUBJECTS. 
 
 Baxter.— NATIONAL INCOME: The United Kingdom. By 
 R. Dudley Baxter, M.A. Svo. 3^. 6d. 
 
 The present work endeavours to ans'U'cr systematically iuch questions 
 as the follo7ving: — What are the means and aggregate wages of our 
 labouring population ; what are the numbers and aggregate profits 
 of the middle classes ; 7vhat the rez'enues of our great proprietors 
 and capitalists ; and what the pecuniary strength of the nation to 
 bear the burdens annually falling upon us ? What capital in 
 la fid and goods and money is stojrd up for our subsistence, and for 
 carrying out our enterprises '^ The author has collected his facts 
 frojn eveiy quarter and tested them in various 7uays, in order to 
 make his statetnents and deductions valuable and trustworthy. 
 Part I. of the work deals 7£///// ///<? Classification of the Population 
 into — Chap. I. The Income Classes ; Chap. LI. The Upper and 
 Middle and Manual Labour Classes. Part LI. treats of the In- 
 come of the United Kingdom, divided into — Chap. III. Upper 
 and Middle Incomes ; Chap. IV. Wages of the Manual Labour 
 Classes— England and Wales ; Chap. V. Income of Scotland ; 
 Chap. VI. Income of Ireland ; Chap. VII. Income of the 
 United Kingdom. In the Appendix will be found many 7-aluable 
 and carefully compiled tables, illustrating in detail the subjects 
 discussed in the text. 
 
 Bernard.— FOUR LECTURES ON subjects connected 
 
 WITH DIPLOMACY. By Mountague Bernard, M.A., 
 Chichele Professor of International Law and Diplomacy, Oxford. 
 8vo. 9^. 
 
iiW^iawW»'~*^ :- ' W«' ' ~~ 
 
 30 
 
 MACMILLAN'S CATALOGUE OF 
 
 WOKKS IN POLITICS, ETC. 
 
 31 
 
 These four ledures deal zuith—L " The Congress of Westphalia ; " 
 //. '' Systems of Poliey ;'' III. '' Diplomacy, Past and Present ;'' 
 IV. ''The Obligations of Treaties.''— ''Singularly interesting 
 . lectures, so able, clear, and attractive."— Spectatok. "The 
 author of these lectures is full of the kno^oledge ivhieh belongs to 
 his subject, a-nd has that pozcer of clear and vigorous expression 
 which results from clear and vigorous thought.'''' — Sco'J'.-^MAN. 
 
 Bright (John, M. P.)— SPEECHES ON QUESTIONS OF 
 PUIJLIC POEICV. By the Right Plon. John Bright, M.P. 
 Edited by Professor Thorold Rogers. Author's Popular Edition. 
 
 Globe Svo. 
 
 y. 
 
 6d 
 
 The speeches which have been selected for publication in these volumes 
 possess a value, as examples of the art of public speaking, zvhich no 
 person will be likely to underrate. The speeches have been selected 
 with a v'unv of supplying the public with the ezidence on which Mr. 
 Bright' s friends assert his right to a place in the front rank of 
 English statesmen. They are diviiled into groups, according 
 to their sulyects. The editor has naturally given prominence to 
 those subjects zoith which Mr. Bright has been specially identified, 
 as, for example, India, America, Ireland, and Parliamentary 
 Reform. J-lnt nearly r.ery topic of great public interest on which 
 Mr. Bright has spoken is represented in these volumes. "Mr. 
 Bright' s speeches zvill always deserve to be studied, as an apprentice- 
 ship to popular and parliamentary oratory ; they zoill form 
 materials for Jhc history of our time, and many brilliant passages, 
 perhaps some entire speeches, will really become a part of the liznng 
 literature of England.'' — DAILY News. 
 
 LIBRARY EDPl ION. Two Vols. 8vo. With Portrait. 25^. 
 
 Christie.— THE BALLOT AND CORRUPTION AND 
 EXPENDITURE AT ELECTIONS, a Collection of Essays and 
 Addresses of different dates. ByW. D. Christie, C.B., formerly 
 Her Majesty's Minister to the Argentine Confederation and to 
 Brazil ; Author of " Life of the First Earl of Shaftesbury." Crown 
 8vo. 4-v. 6(1. 
 
 Mr. Christie ha: been well kncrwn for iipivards of thirty years as a 
 strenuous and able advocate for the Ballot, both in his place in 
 Parliament and elsezvhere. The papers and speeches here collected 
 
 are six in number, exclusive of the Prejace and Dedication to Pro- 
 fessor Maurice, zohich contains many interesting historical details 
 concerning the Ballot. " You have thought to greater purpose on 
 the means of preventing electoral corruption, and arc likely to-be of 
 more service in passing measures for that highly important end, 
 then any other person that I could name.'' — ^J. S. Mill, in a 
 published letter to the Author, May 1868. 
 
 Corfield (Professor W. H.)— A DIGEST OF FACTS 
 RELATING TO THE TREATMENT AND UTILIZATION 
 OF SEWAGE. By W. H. Coriteld, M.A., B.A., Professor of 
 Hygiene and Public Health at University College, London. 8vo. 
 los. dd. Second Edition, corrected and enlarged. 
 
 /// this edition the author has rei'ised and corrected the entire work, 
 and made many important additions. The headings of the eleven 
 chapters are as follaio : — /. "Early Systems: Midden-Hcaps and 
 Cesspools." II "Filth and Disease— Cause and Effect." Ill "Im- 
 proved Midden- Pits and Cesspools ; Midden-Closets, Pail-Closets, 
 etc." IV. "The Dry-Closet Systems." V. "Water- Closets." VI. 
 " Sezaerage." VII. " Saiiitary Aspects of the Water- Carrying 
 System." VIII. "Value of Sewage; Injury to Rivers." IX. 
 Tozon Sezvage ; Attempts at Utilization." X. "Filtration and 
 Irrigation.'''' XI. "Influence of Sewage Farming on the Public 
 Health." An abridged account of the more recently published 
 researches on the subject will be found in the Appendices, zvhile the 
 Summary contains a concise statement of the views zu hick the author 
 himself has been led to adopt ; I'cferences have been inserted thi'ough- 
 oiit to shozu from zu hat sources the numerous quotations have been 
 derived, and an Index has been added. "Mr. Corfield' s work is 
 entitled to rank as a standard authority, no less than a convenient 
 handbook, in all iiuitters relating to sezvage.'' — ATHENy^iUM. 
 
 Dutton (Amy).— STREETS and LANES of a CITY: 
 
 being the Reminiscences of Amy Dutton. With a Preface by 
 the Bishop of Salisbury. Pp. viii. 159. Globe 8vo. 3^^. 6d. 
 
 This little volume records "a portion of the experience, selected out of 
 overfiozuing materials, of tzvo ladies, during several years of devoted 
 züork as district parochial visitors in a large population in the 
 North of England." The "Reminiscences of Amy Dutton" serve 
 
 V 
 
32 
 
 MACMILLAN'S CATALOGUE OF 
 
 to illustrate the line of argument adopted by Miss Stephen in her 
 work on the ''Service of the Poor,'' because they show that as in one 
 aspect the lady visitor may be said to he a link betiveen rich and 
 poor, in another she helps to blend the ''religious'' life with the 
 "secular," and in both does service of extreme value to the Church 
 and Nation. "A record only too brief of some of the real por- 
 traits of humanity, painted by a pencil, tender itideed and sympa- 
 thetic, but with too clear a sight, too ready a sense of humour, and 
 too conscientious a spirit mer to exaggerate, extenuate, or aught set 
 dmvn in malice."— Gv\B.vlA^. 
 
 Fawcett.— Works by Henry Fawcett, M.A., M.P., Fellow of 
 Trinity Hall, and Professor of Political Economy in the University 
 of Cambridge : — 
 
 THE ECONOMIC POSITION OF THE BRITISH 
 LABOURER. F:xtra fcap. 8vo. 5^. 
 
 This work formed a portion of a course of Lectures delivard by the 
 author in the University of Cambridge, and he has deemed it 
 advisable to retain many of the expositions of the elementary prin- 
 ciples of Economic Science. In the Introductory Chapter the 
 author points out the scope of the work and sho7VS the vast import- 
 ance of the subject in relation to the commercial prosperity and roen 
 the national existence of Britain. Then follow five chapters on 
 " The Land Tenure of England," "Co-operation," "The Causes 
 which regulate Wages," "Trade Unions and Strikes," and 
 "Emigration." The Examiner calls the work "a very scholarly 
 exposition on some of the most essential questions of Political 
 Economy;" and the N(3NCONFORMIst says "it is -written with 
 chaj-ming freshness, ease, and lucidity." 
 
 MANUAL OF POLITICAL ECONOMY. Third and Cheaper 
 Edition, with Two New Chapters. Crown 8vo. \os. 6d. 
 
 In this treatise no important branch of the subject has been omitted, 
 and the author belir.'cs that the principles which are therein ex- 
 plained will enable the reader to obtain a tolerably complete viciu of 
 the whole science. Mr. Fawcett has endeavoured to sho70 ho7if 
 intimately Political Economy is connected with the practical ques- 
 tions of life. For the convenience of the ordinary reader, and 
 especially for those who may use the book to prepare themselves for 
 
 WORKS IN POLITICS, ETC. 
 
 
 F a WC e tt ( H . )~-contimted. 
 
 examinations, he has prefixed a very detailed stimmajy of Contents, 
 which may be regarded as an analysis of the work. The nr..' 
 *Ution has been so carefully revised that there is scarcely a 
 page in which some impnn'ement has not been introduced. The 
 Daily Ni:\vs says: "It forms one of the best introductions to the 
 principles of the science, and to its practical applications in the 
 problems of modern, and especially of English, governmeiit and 
 society." " The book is written throughout," says the Examiner, 
 "with admirable force, clearness, and brtvity, every important 
 part of the subject being duly considered." 
 
 PAUPERISM : ITS CAUSES AND REMEDIES. Crown 8vo. 
 ^s. 6d. 
 
 In its number for March nth, 1 87 1, ///i' Spectator i-^-?;/; " JP^ewish 
 Professor Fawcett would dez'ote a little more of his time ami energy 
 to the practical consideration of that monster proble7n of Pauperism . 
 for the treatment of which his economic kno^dedge and popular 
 sympathies so eminently fit him." The volume noio published mar 
 be regarded as an ans-wer to the above challenge. The sroen 
 chapters it comprises discuss the follo7üing subjects : — /. "Pauperism 
 and the old Poor Lara'." II. " The present Poor lari' System." 
 III. ' ' Th e Increase of Population ." IP\ " Amotion a I Ed ?i cation : 
 its Economic and Social Effects." V. "Co-partnership and Co- 
 operation." VI. "The English System of Laml Tenure." VI f. 
 " The Inclosure of Commons." The Athenäum calls thervork "a 
 repa'tory of interesting and well-digested information." 
 
 ESSAYS ON POLITICAL AND SOCIAL SUBJECTS. By Pro- 
 fessor Fawcett, M.P., and Millicent Garrett Fawcett. 
 8vo. los. 6d. 
 
 This volume contains fourteen papers, some of which have appeared 
 in various journals and periodicals ; others have not before been 
 published. They are all on subjects of great importance and uni- 
 versal interest, and the names of the two authors arc a S7(fficient 
 guarantee that each topic is discjissed with full knozdedge, great 
 ability, clearness, and earnestness. The following are some of the 
 titles: — " Modern Socialism ;" " Free Education in its Economic 
 Aspects ;" "Pauperism, Charity, and the Poor Law :" " National 
 Debt and National Prosperity :" " IVhat can be done for the 
 
 c 
 
 r 
 
 i# 
 
34 
 
 MACMILL^IN'S CATALOGUE OF 
 
 WORKS IN POLITICS, ETC. 
 
 35 
 
 Agricultural Lahonrcrs f " The Education of Women f " The 
 Electoral Disabilities of Women i'^ ''^ TJie House of Lords.'''* Each 
 article is signed with the initials of its author. 
 
 Fawcett (Mrs.)— political ECONOMY FOR BEGIN- 
 NERS. WITH QUESTIONS. By Millicent Garrett 
 Fawcett. iSmo. 2.f. dd. 
 
 In this little ivorh are explained as briefly as possible the most im- 
 portant principles of Political Economy y in the hope that it ivill he 
 useful to i>egi!inersy and po'haps be an assistance to those lidio are 
 desirous of introducing the study of Political Economy to schools. 
 In order to adapt the book especially for school tise, questions have 
 been added at the end of each chapter. The Daily News calls it 
 '■''deary compact^ and comprehensive :'''' and the Spectator says^ 
 '■''Mrs. Eaiucett^s treatise is perfectly suited to its pu?pose." 
 
 Freeman (E. A., M.A., D.C.L.)— HISTORY OF 
 
 FEDERAL GOVERNMENT. See p. 6 of preceding His- 
 torical Catalogue. 
 
 Godkin (James).— THE LAND WAR IN IRELAND. A 
 
 History for the Times. By James Godkin, Author of "Ireland 
 and her Churches," late Irish Correspondent of the Times. 8vo. 
 
 12S. 
 
 A History of the Irish Land Question. " There is probably no other 
 account so compendious and so complete. " — Fortn ightly Review. 
 
 Guide to the Unprotected, in Every Day Matters Re- 
 lating to Fropcrty and Income. By a Banker's Daughter. 
 Third Edition. p:xtra fcap. 8vo. 35. 6d. 
 
 Many u<idcnvs and single ladies, and all young people, on first 
 possessing money of their cnun, are in want of advice when they 
 have commonplace business matters to transact. The author of 
 this work writes for those who kno^o nothing. Her aim throughout 
 is to avoid all technicalities; to give plain and practical directions, 
 not only as to what ought to be done, but ho7u to do it. "Many an 
 unprotected females will bless the head which planned and the hand 
 which compiled this admirable little manual. . . . This book was 
 very much wanted, and it could not have been befta- done."— 
 Morning Star. 
 
 Hill.— CHILDREN OF THE STATE. THE TRAINING OF 
 JUVENILE PAUPERS. By Florence Hill. Extra fcap. 
 8vo. cloth. 5;". 
 
 In this work the author discusses the various systems adopted in this 
 and other countries in the treatment of pauper children. The 
 Birmingham Daily Gazette r^/Zi- zV "a valuable contribution 
 to the great and important social question which it so ably and 
 thoroughly discusses ; and it must materially aid in producing a 
 wise method of dealing with the Children of the State.^'' 
 
 Historicus. — LETTERS ON SOME QUESTIONS OF 
 INTERNATIONAL LAW. Reprinted from the Times, with 
 considerable Additions. 8vo. 7^. dd. Also, ADDITIONAL 
 LETTERS. 8vo. 2s. 6d. 
 
 The author'' s intention in these Letters was to illustrate in a popular 
 form clearly-established principles of law, or to refute, as occasion 
 required, errors which had obtained a mischievous currency. He 
 has endeavoured to establish, by sufficietit authority, propositions 
 which have been inconsUlerately impugned, and to point out the 
 various methods of reasoning which liave led some modern writers 
 to erroneous conclusions. The volume contains: Letters on '''■Recog- 
 nition;'" '''■On the Perils of Intervention;'''' '■'■The Rights and 
 Duties of Neutral Nations;'" "On the Law of Blockade ;''"' "On 
 Neutral Trade in Contraband of War;" " On Belligerent Viola- 
 tion of Neutral Rights;" "The Foreign Enlistment Act ;" "The 
 Right of Search;" extracts from letters on the Afiair of the 
 Trent ; and a papei' on the "Territoriality of the Merchant 
 Vessel." — *'// is seldom that the doctrines of International Law on 
 dcbateahle points have been stated with more vigour, p-ecision, and 
 certainty. "—Saturday Review, 
 
 Je vons.— Works by W. Stanley Jevons, M.A., Professor of 
 Lo<^ic and Political Economy in Owens College, Manchester. (For 
 other Works by the same Author, see Educational and Philo- 
 sophical Catalogues.) 
 
 THE COAL QUESTION : An Inquiry Concerning the Progress 
 of the Nation, and the Probable Exhaustion of our Coal Mines. 
 Second Edition, revised. 8vo. lOi^. (id. 
 
 c 2 
 
 S 
 
36 *^' MACMILLAX'S CATALOGUE OF 
 ^. 
 
 J e VO n S ( W". S . ^^— continued. 
 
 ''Day by day'' the author says, "?/ becomes more nddent that the 
 coal 7üe happily possess in excellent quality and abundance is the 
 mainspring of modern material civilization.'' Geologists and 
 other competent authorities have of late been hinting that the 
 supply of coal is by no means inexhaustible, and as it is of vast 
 importance to the country and the world generally to kno7u the real 
 state of the case, Professor Jti'ons in this work has endeavoured to 
 solve the question as far as the data at command admit. He 
 believes that should the consumption multiply for rather more than 
 a centuiy at its present rate, the average depth of our coal mines 
 would be so reduced that we could not long continue our present rate 
 of progress. ** IVe have to make the momentous choice," he believes, 
 ''betioeen brief greatness and long-continued prosperity." — ''The 
 question of our supply of coal," says the Pall Mall Gazette, "be- 
 comes a question obviously of life or death. . . . The whole case is 
 stated laith admirable clearness and cogency. . . . We may regard 
 his statements as una ns^oered and practically established." 
 
 THE THEORY OF POLITICAL ECONOMY. 8vo. 9.^. 
 
 /// this work Professor yez'ons endeavours to construct a theory of 
 Political Economy on a mathematical or quantitative basis, believing 
 that many of the commonly received theories in this science are pe)-- 
 niciously ei-roneous. The author here attempts to treat Econofuy 
 as the Calculus of Pleasure and Pain, and has sketched out, almost 
 irrespective of pmious opinions, the form which the science, as it 
 seems to him, must ultimately take. The theory consists in apply- 
 ing the differential calculus to the familiar notions of Wealth, 
 IHilHy, Value, Demand, Supply, Capital, Interest, Labour, and 
 all the other notions belonging to the daily operations of industry. 
 As the complete theory of almost every other science involves the use 
 ofthat calculus, so, the author thinks, we cannot have a true theory 
 of Political Economy without its aid. '"'Professor Jevons has done 
 invaluable serznce by courageously claiming political economy to be 
 strictly a branch of Applied y]/<7///^/;/rt//V-^."— Westminster 
 Review. 
 
 Martin. — THE STATESMAN'S YEAR-BOOK: A Statistical 
 and Historical Annual of the States of the Civilized World. 
 Handbook for Politicians and Merchants for the year 1872. By 
 
 WORKS IN POLITICS, ETC 
 
 37 
 
 Frederick Martin. Ninth Annual Publication. Revised after 
 Official Returns. Crown Svo. 10s. 6d, 
 
 The StatesmatCs Year-Book is the only work in the English language 
 which furnishes a clear and concise account of the actual condition 
 of all the States of Europe, the civilized countries of America, 
 Asia, and Africa, and the British Colonies and Dependencies in 
 all parts of the world. The fiew issue of the work has been revised 
 and corrected, on the basis of official reports received direct from the 
 heads of the leading Governments of the world, in reply to letters sent 
 to them by the Editor. Th'ough the valuable assistance thus given, 
 it has been possible to collect an aijiount of information, political, 
 statistical, and commercial, of the latest date, atid of unimpeachable 
 trustworthiness, such as no publication of the same kind has ever 
 been able to furnish. The ne^v issue of the Statesman's Year- 
 Book has a Chronological Account of the principal events of the 
 past momentous tioelve months. "As indispensable as Bradshaw." 
 — Times. 
 
 Phillimore. — PRIVATE LAW AMONG THE ROMANS, 
 from the Pandects. By John George Phillimore, Q.C. 8vo. 
 i6j. 
 
 The author's belief that some knowledge of the Roman System oj 
 Municipal La7u will contribute to ij?iprove our own, has induced 
 him to prepare the present work. His endeavour has been to select 
 those parts of the Digest which would best show the grand manner 
 in which the Roman jurist dealt with his subject, as tuell as those 
 which most illustrate the principles by which he was guided in 
 establishing the great lines and propositions of jurisprudence, which 
 every lawya- must have frequetit occasion to employ. "Mr. Philli- 
 more has done good service towards the study of jurisprudence in 
 this country by the production of this volume. The work is one 
 which should be in the hands of every student." — Athenäum. 
 
 Smith. — Works l)y Professor Goldwin Smith :— 
 
 A LETTER TO A WHIG MEMBER OF THE SOUTHERN 
 INDEPENDENCE ASSOCIATION. Extra fcap. 8vo. 2s. 
 
 This is a Letter, written in 1864, to a nmnber of an Association 
 formed in this country, the purpose of which was "to lend assistance 
 
38 
 
 M ACM ILL AN' S CATALOGUE OF 
 
 \ 
 
 Smith (Prof. Q.)— continued. 
 
 to the Slave-oiuners of the Southern States in their attempt to effect a 
 disruption of the A/ncricaft Comvion-vealth, and to establish an 
 independent Po7uer^ having, as they declare, Sl^tvery /or its corner- 
 stone." Mr. Smith cndcaimirs to sho7u that in doing so they 
 ivould have committed a great folly and a still greater crime. 
 71ii-oughout the Letter many points of general and permanent 
 importance are discussed. 
 
 THREE ENGLISH STATESMEN: PYM, CROMWELL, 
 PITT. A Course of Lectures on the I'olitical History of England. 
 Extra fcap. 8vo. New and Cheaper Edition, ^s. 
 
 "■A 7i'ork luhich neither historian 7ior politician can safely afford to 
 ne;:lect. " — Saturday Review. " ' ' There are outlines, cleai-ly ami 
 boldly sketched, if mere outlines, of the three Statesmen tuho give the 
 titles to his lectures, ivhich are well deserving of study.'' — Si'ECTATO K. 
 
 Social Duties Considered with Reference to the 
 
 ORGANIZATION OF EFFORT IN WORKS OF BE- 
 NEVOLENCE AND PUBLIC UTILITY. By a Man of 
 Business. (William Ratiiüo.ne.) Fcap. 8vo. 4^. 6d. 
 
 The contents of this valuable little book are — /. " Social Disintegra- 
 tion." IL '•''Our Charities — Done and Undone.'^ III. ''Organiza- 
 tion and Individual Bcntvolence — their Achievements and Short- 
 comings.'" IV. " Organization and Individualism — their Co- 
 operation Indispensable."' V. ''Instances and Experiments.'''' VI. 
 "■' The Sphere of Government.''' "Conclusion." The viaos urged 
 are no Sentimental theories, but hazegro^un out 0/ the practical ex- 
 perience acquired in actual work. "Air. Rathbone's earnest and 
 large-hearted Utile book will help to generate both a larger and wiser 
 ;7/<7;7/)'."— Brittsh Quarteri-^-. 
 
 Stephen (C. E.)— THE SERVICE OF the POOR; 
 
 Being an Inquiry into the Reasons for and against the Establisli- 
 nicnt of Rehgious Sisterhoods for Charitable Purposes. By 
 Caroline Emilia Stephen. Crown Svo. 6.-. dd. 
 
 Miss Stephen deßnes Religious Sisterhoods as "associations, the 
 organization of which is based upon the assumption that works of 
 charity are either acts of worship in themselves, or means to an end, 
 that end being the spiritual welfare of the objects or the performers 
 
 WORKS IN POLITICS, ETC. 
 
 39 
 
 of those works.'' Arguing from that point of view, she devotes the 
 first part of her volume to a brief history of religious associations, 
 taking as specimens — /. The Deacotiesses of the Primitive Church. 
 II. TheBeguines. III. The Third Order of S. Francis. IV. The 
 Sisters of Charity of S. Vincent de Paul. V. The Deaconesses of 
 Modern Germany. In the second part. Miss Stephen attempts to 
 shoiu vohat are the real wants met by Sisterhoods, to what extent the 
 same wants may be effectually met by the organization of corre- 
 spoiuiing institutions on a secular basis, and what are the reasons 
 for endeavouring to do so. ' ' The ablest advocate of a better line of 
 work in this direction than 7ue have eva- seen.''' — Examiner. 
 
 Stephen (J. F.)— A general view of the 
 
 CRIMINAL LAW OF ENGLAND. By James Fitzjames 
 Stephen, M.A., Barrister-at-Law, Member of the Legislative 
 Council of India. Svo. i%s. 
 
 The object of this work is to give an account of the general scope, 
 tetidency, and design of an important part of our institutions, 
 of which surely ?ione can have a gi'eater moral signifieance, or be 
 more closely connected with broad principles of morality and 
 politics, than those by which men rightfully, deliberately, and in 
 cold blood, kill, enslave, arui otherzuise torment their fellozu- 
 creatures. The author believes it possible to explain the pi'inciples 
 of such a system in a mangier both intelligible and intertstin<-^. 
 The Contents are— I. "The Province of the Cj'iminal law." 
 II. "Historical Sketch of English Ci-iffiinal Law." III. "Defi- 
 nition of Crime in General." IV. " Classification attd Definition 
 of Particular Crimes." V. " Criminal Procedure in General." 
 VI. "English Criminal Procedure." VII. "The Principles oj 
 Evidence in Relation to the Criminal lazo.'' VIII. "En 'dish 
 Rules of Evidence." IX. " EnglisJi Criminal Legislation." 
 The last 1 50 pages are occupied zuith the discussion of a number 
 of important cases. "Readers feel in his book the confiience zvhich 
 attaches to the zuritings of a man zvho has a gj-eat p7'actical 
 acquaintance zoith the matter of which he zvrites, and lazuyers will 
 agree that it fully satisfies the standard of professional accuracy T 
 —Saturday Review. " His style is forcible and perspicuous, and 
 singidarly free from the unnecessary use of professional terms." — 
 Spectator. 
 
 A 
 
40 
 
 MACMILLAN'S CATALOGUE. 
 
 Thornton. — on LABOUR .- its Wrongful Claims and Riglulul 
 Dues ; Its Actual Present State ami Possible Future. By William 
 Thomas Thornton, Author of" A Plea for Peasant Proprietors," 
 etc. Second Edition, revised. 8vo. \&fS. 
 
 The object of this volume is to endeavour to find 'Ui cure for human 
 destitution^'' the search after ivhich has been the passion and the 
 7üork of the author's life. The ivork is divided into four books, 
 and each book into a number of chapters. Book I. ''Labour's 
 Causes of Discontent." JL ''Labour and Capital in Debated 
 HI. "Labour and Capital in Antai^onism:' IV. " Labour and 
 Capital in Alliance.''' All the higiily important problems in Social 
 and Tolitieal Economy connected lAth Labour and Capital an 
 here discussed luith knoavledi^e, 77V(V/;-, and originality, and for a 
 noble purpose. The neio edition has been thoroughly rez-ised and 
 considerably enlarged. " We cannot fail to recognize in his 7C'ork 
 the result of indepeiuient thought, high moral aim, and generous 
 
 intrepidity in a noble cause A really 7-aluable contribution. 
 
 'The number of facts accumulated, both historical and statistical, 
 make an especially valuable portion of the 7vork." — Westminster 
 Review. 
 
 WORKS CONNECTED WITHTHE SCIENCE 
 OR THE HISTORY OF LANGUAGE. 
 
 {For Editions of Greek and Latin Classical Authors, Gram- 
 mars, and other School 'loorks, see Educational Catalü(;ue.) 
 
 Abbott.— A SHAKKSPKRIAN GRAMMAR : An Auempt u. 
 illustrate some of the Differences between Elizabethan and Modern 
 English. l>y the Rev. i:. A. Abbott, M.A., Head Master of the 
 City of London School. For the Use of Schools. Xew and 
 Enlarged Edition. J.xtra fcap. 8vo. 6s. 
 
 The object of this loork is to furnish students of Shakespeare and 
 Bacon laith a short systematic account of some points of difference 
 betiveen Elizabethan Syntax and eur oitm. The demand for a tltird 
 edititn voithin a year of the publication of the first, has encouraged 
 the author to endeavour to nuike the ivork someiuhat more useful, 
 and to render it, as jar as possible, a complete book of reference foj- 
 all dißculties of Shakesperian Syntax or Prosody. For this purpose 
 the 7ohole of Shakespeare has been re-read, and an attempt has been 
 made to include loithin this edition the explanation of every 
 idiomatic dißculty (xohere the text is not confessedly corrupt) that 
 comes 7vithin the province of a grammar as distinct from a glossary. 
 
 The great object being to make a useful book of reference for students 
 and for classes in schools, sei'eral Plays have been indexed so fully, 
 that 7üith the aid of a glossary and historical notes the references 
 will serve jor a complete commentaiy. "A critical inquiry, con- 
 ducted 7vith great skill and kno^uledge, and with all the appliances 
 of modern philology."— ?Ai.i. Mall Gazette. "Valuable not 
 only as an aid to the critical study of Shakespeare, but as tending to 
 familiarize the reader with ILlizabethan English in general." — 
 
 ATHEN.KL'M. 
 
 \\ 
 
42 
 
 MACMILLAN'S CATALOGUE OF 
 
 Besant.— STUDIES in early French poetry. By 
 
 Walter Besant, M. A. Crown 8vo. Sj. dd. 
 
 A sort of impression rests on most minds that French literature öe<^'ins 
 with the '•''siccle de Louis Quatorze ;'''' any prez'ious literature being 
 for the most part unknoion or ignored. Feio know anything of the 
 enormous literary activity that began in the thirteenth century, zvas 
 carried on by Rulebeuf Marie de France^ Gaston de Foix^ Thibanlt 
 de Champagne, and Lorris ; was fostered by Charles of Orleans^ 
 by Margaret of Valois, by Francis the Fust; that gave a craivd oj 
 versifiers to France, enriched, strengthened, dei'eloped, and fixed the 
 French language, aiul prepared the way for Corneille and for 
 Racine. The present work aims to afford information and direction 
 touching these early efforts of France in poetical literature. ^^In one 
 moderately sized volume he has contrived to introduce us to the very 
 best, if not to all of the early French poets."" — Athenveum. 
 *■*■ Industry, the insight of a scholar, and a genuine enthusiasm for 
 his subject, combine to make it of very considerable value.^^ — 
 Spectator. 
 
 Helfenstein (James).— A COMPARATIVE GRAMMAR 
 
 OF THE TEUTONIC LANGUAGES : Being at the same 
 time a Historical Grammar of the English Language, and com- 
 prising Gothic, Anglo-Saxon, Early English, Modern English, 
 Icelandic (Old Norse), Danish, Svvedisli, Old High German, 
 Middle High German, Modem German, Old Saxon, Old Frisian, 
 and Dutch. By James Helfenstein, Ph.D. 8vo. \%s. 
 
 This work traces the different stages of drjclopment through which the 
 various Teutonic languages have passed, and the laws which have 
 regidated their growth. The reader is thus enabled to study the 
 relation which these languages bear to one another, and to the Eng- 
 lish language in particular, to udiich special attention is devoted 
 throughout. In the chapters on Ancient and Middle Teutonic 
 languages no grammatical form is omitted the knoivledge of lühich 
 is required for the study of ancient literatiwe, whether Gothic or 
 Anglo-Saxon or Early EngiisJi. To each chapter is prefixed a 
 sketch shoT-oing the relation of the Teutonic to the cogtiate languages, 
 Greek, Latin, a7id Sanskrit. Those who have mastered the book 
 will be in a position to proceed with intelligence to the more elaborate 
 works of Grimm, Bopp, Pott, Schleicher, and others. 
 
 WORKS ON LANGUAGE. 
 
 43 
 
 Morris.— HISTORICAL OUTLINES OF ENGLISH ACCI- 
 DENCE, comprising Chapters on the History and Development 
 of the Language, and on Word-formation. By the Rev. Richard 
 Morris, LL.D., Member of the Comicil of the Philol. See, 
 Lecturer on English Language and Literature in King's College 
 School, Editor of "Specimens of Early English," etc., etc. 
 Fcap. 8vo. 6s. 
 
 Dr. Morris has endeavoured to write a work which can be pi'ofitably 
 used by students and by the upper forms in our public schools. His 
 almost unequalled knozoledge of early English Literature renders 
 him peculiarly qualified to write a work of this kind ; and English 
 Grammar, he believes, without a reference to\the older forms, must 
 appear altogether anomalous, inconsistent, and unintelligible. In 
 the writing of this volume, moreover, he has taken advantage of the 
 researches into our language made by all the most emineiit scholars 
 in England, ^^ . "ica, a7id on the Continent. The author shows 
 the place of English ajiiong the languages of the world, expounds 
 clearly and with great minuteness " Grimm's Law,"" gives a brief 
 history of the English language and an account of the various 
 dialects, investigates the history and pHnciples of Phonology, 
 Orthography, Accent, and Etymology, and dezvtes several chapters 
 to the consideration of the various Parts of Speech, and the final 
 one to Derivation and Wordfortnation. 
 
 Peile (John, M.A.)— an INTRODUCTION to GREEK 
 AND LATIN ETYMOLOGY. By John Peile, M.A., 
 Fellow and Assistant Tutor of Christ's College, Cambridge, 
 formerly Teacher of Sanskrit in the University of Cambridge. 
 New and revised Edition. Crown 8vo. \os. 6d. 
 
 These Philological Lectures are the result of Notes made during the 
 autho7''s reading for some years previous to their publication. These 
 Azotes were put into the shape of lectures, delivered at Christ's 
 College, as one set in the ''Intercollegiate'' list. They have been 
 printed with some additions and modifications, but substantially 
 as they were delivered. ''The book may be accepted as a veiy 
 valuable contribution to the science of lang?tage."— Saturday 
 Review. 
 
 ^V 
 
 <n 
 
. "-mr ■"«■w 
 
 44 
 
 MACMILLAN'S CATALOGUE OF 
 
 Philology.— THE JOURNAL OF SACRED AND CLAS- 
 SICAL PHILOLOGY. Four Vols. Svo. 12^.6./. 
 
 THE JOURNAL OF PIHLOLOGY. New Series. Edited by W. 
 G. Clark, M.A., John E. B. Mayor, iM.A., and W. Aldis 
 Wright, M.A. Nos. \. H., HL, and IV. 8vo. 4^. dd. each. 
 (Half-yearly.) 
 
 Roby (H.J.)— A GRAMMAR OF THE LATLN LANGUAGE, 
 FROM PLAUTUS TO SUETONIUS. By Henry John 
 ROHY, M.A., late Fellow of St. John's College, Cambridge. 
 Part I. containing : — Book I. Sounds. Book IL Inflexions. 
 Book III. Word Formation. Appendices. Crown 8vo. 85. 6t/. 
 
 Ulis lüork is the result of an independent and earejul study of the 
 luriters of the strictly Classical period, the period embraced between 
 the time of Plant us and that of Suetonius. The author's aim has 
 been to give the facts of the huiguage in asft-ro 7L>ords as possible. It 
 luill be found that the arrangement of the book and the treatment 0/ 
 the various divisions differ in many respects from those of pmnous 
 grammars. Mr. Roby has given special prominence to the treat- 
 ment of Sounds and Word-formation ; and in the First Book he has 
 done much to^vards settling a discussion which is «t prjsent largely 
 eniracijti'- the attention of scholars, 7'iz., the Pronunciation of the 
 Classical languages. In the full Appendices -will be found various 
 valuable details still further illustrating the subjects discussed in the 
 text. The author'' s reputation as a scholar and critic is already 
 well kncrwn, and the publishers are encouraged to believe that his 
 present work will take its place as perhaps the most original, exhaus- 
 tive, and scientific grammar of the Latin language that has iT'CJ- 
 issued from the British press. ''The book is marked by the clear 
 and practical insight of a master in his art. It is a book which 
 ivould do honour to any iW/«/;7."--ATHEN.KUM. ''Brings before 
 the student in a methodical form the best results of modern philology 
 bearing on the Latin language.''' — SCOTSMAN. 
 
 Taylor (Rev. Isaac).— WORDS AND PLACES; or, 
 
 Etymological Illustrations of History, Ethnology, and Geogi-aphy. 
 By the Rev. Isaac Taylor. Second Edition. Crown 8vo. 
 12.V. 6d. 
 
 WORKS Oi\ LANGUAGE. 
 
 45 
 
 This work, as the Saturday \<.vai^\\ acknowledges, "is one which 
 stands alone in our language.^'' The subject is one ackno7vledged A' 
 be of the highest importance as a handmaid to History, Ethnology, 
 Geography, and ii'en to Geology : and Mr. Taylor'' s work has 
 taken its place as the only English authority of7'aluc on the subject. 
 Not only is the work of the highest value to the student, but 7vill be 
 found full of interest to the general reader, affording him wonderful 
 peeps into the past lij'e and wanderings of the restless race to which 
 he belongs. Every assistance is giveti in the way of specially pre- 
 pai-ed Maps, Indexes, and Appendices : and to anyone who wishes 
 to pursue the study of the subject J'/trth er, the Bibliographical List of 
 Books will be found invaluable. The Nonconformist says, ' ' The 
 historical importance of the subject can scarcely be exaggerated. '^ 
 '^ His book,''' the Reader says, "loill be invaluable to the student of 
 English history. "" "As all culti7>ated minds J eel curiosity about 
 local names, it may be expected that this will become a household 
 book,'' says the Guardian. 
 
 Trench. — Works by R. Chenevix 'I'rench, D.D., Archbishop of 
 Dublin. (For other Works by the same Author, see Theological 
 Catalogue.) 
 
 Archbishop Trench has done much to spread an interest in the history 
 of our English tongue. He is ackno^uledged to possess an un- 
 common poiver of presenting, in a clear, instructive, and interesting 
 manner, the fruit of his cnvn extensive research, as well as the 
 results of the labours of other scientific and historical students 
 of language ; while, <7j- ///^'AtheN/KUM says, " his sober judgment 
 and sound sense are barriers against the misleading infiuence oj 
 arbitrary hypotheses. " 
 
 SYNONYMS OF THE NEW TESTAMENT. New Edition, 
 enlarged. 8vo. cloth, lis. 
 
 The study of synonyms in any language is 7'aliiable as a discipline for 
 training the mind to close and accurate habits of thought ; more 
 especially is this the case in Greek — "a language spoken by a people of 
 the finest and subtlest intellect; who saw distinctions wJiere others saw 
 none; 7vho divided out to different loords what others often were 
 content to huddle confusedly under a common term." This work is 
 recognized as a valuable companion to erwry student of the JVerc 
 Testament in the original. This, the StTvnfh Edition, has been 
 
 .11 
 
46 
 
 MACMILLANKS CATALOGUE OF 
 
 Trench (R. C.) — contimtcd. 
 
 carefully reznscd, and a considcrablj number ofneio synonyms added. 
 Appended is an index to the synonyms, and an Index to many other 
 words alluded to or explained thronghont the 7uork\ "'He is,'"' the 
 AtiieN/EUM says, "^ guide in this department of kno7vledge to 
 whom his readers may entrust themselves 7vith confidence ^ 
 
 ON TIIK STUDY OF WORDS. Lectures Addressed (originally) 
 to the Pupils at the Diocesan Training School, Winchester. 
 Fourteenth Edition, revised and enlarged. Fcap. Svo. /^. 6d. 
 
 This, it is beliroed, was probably the first 7Vork which drriU general 
 attention in this country to the importance and interest of the 
 critical and historical study of English. It still retains its place as 
 one of the most successfid if not the only exponent of those aspects 
 of Words of which it treats. The stibjects of the sn'cral Lectures 
 are— I. ''Introductory.'' II. ''On the Poetry of Words:' III. 
 " On the Morality of Words." IV. "On the History of Words." 
 V. "On the A'ise of Nr.v Words." VI. "On the Distinction of 
 Words. ' ' VII ' ' The Schoolmaster's Use of I Vords. ' ' 
 
 ENGDISII PAST AND PRESENT. Seventh Edition, revised 
 and improved. Fcap. 8vo. 4.f. 6d. 
 
 This is a sen'es of eight lectures, in the first of -which Archbishop 
 Trench considers the English language as it naiv is, decomposes some 
 specimens of it, and thus discoz-ers ofzohat elements it is compact. In 
 the second Lecture he considers what the language might hare been 
 if the Norman Conquest had nruer taken place. In the following 
 six lectures he institutes from various points of vir.v a comparison 
 between the present language and the past, points out gains which it 
 has made, losses which it has endured, and generally calls attention 
 to some of the more important changes through -which it has passed, 
 or is at present passing. 
 
 A SELECT GLOSSARY OF ENGLLSII WORDS USED 
 
 FORMERLY IN SENSES DIFFERENT FROM THEIR 
 
 PRESENT. Third Edition. Fcap. Svo. 4^. 
 
 This alphabetically arranged Glossary contains many of the most 
 
 important of those English words which in the course of time have 
 
 gradually changed their meanings. The author's object is to point 
 
 out some of these changes, to suggest hoiu many more there may be. 
 
 WORKS ON LANGUAGE. 
 
 47 
 
 Trench (R. Q,,)— continued. 
 
 to sho7u hoiv slight and subtle, while yet most real, these changes 
 have often been, to trace here and their the progressive steps by 
 which the old meaning has been put off and the new fiut on — the 
 exact road which a word has travelled. The author thus hopes to 
 render some assistance to those who regard this as a serviceable dis- 
 cipline in the training of their own minds or the minds of others. 
 Although the book is in the form of a Glossary, it will be found as 
 interesting as a scries of brief well-told biographies. 
 
 ON SOME DEFICIENCIES IN OUR ENGLISH DICTION- 
 ARIP^S : Being the substance of Two Papers read before the 
 Philological Society. Second Edition, revised and enlarged. 
 8vo. 3^. 
 
 The folloaving are the main deficiencies in English dictionaries pointed 
 out in these Papers, and illustrated by an interesting accumulation of 
 particulars: — /. "Obsolete luords arc incompletely registered." II. 
 "Families or groups of voords are often impcjfect." III. "Much 
 earlier examples of the employment of -words oftentimes exist than 
 any which are cited, and fuuch later examples of ivords no-w 
 obsolete." IV. "Important meanings and uses of words are passed 
 over." V. '■'Comparatively little attention is paid to the distinguish- 
 ing of synonymous -words." VI. "Many passages in our literature 
 are passed by, -whi^h might be carefully adduced in illustration of 
 the first introduction, etymology, and meaning of 7uords." VII. 
 " Our dictionaries err in redundancy as -well as defect." 
 
 Wood. — Works by H. T. W. Wood, B.A., Clare College, 
 Cambridge : — 
 
 THE RECIPROCAL INFLUENCE OF ENGLISH AND 
 FRENCH LITERATURE IN THE EIGHTEENTH 
 CENTURY. Crown 8vo. 2s. 6d. 
 
 This Essay gained the Le Bas Priu' for the year 1869. Besides a 
 general Lntroductory Section, it contains other three Sections on 
 " The Lnfiucnce of Boileau and his School ;" "The Lnfluence of 
 English Philosophy in France;" "Secondary Influences — the 
 Drama, Fiction," etc. Appended is a Synchronological Table of 
 Events connected -with English and French Literature, A.D. 1700 — 
 A.D. 1800. 
 
4H 
 
 JlIA CMILLAN'S CA TALOGUE 
 
 Wood (H. T. '^.)— continued. 
 
 CHANGES IN THE ENGLISH LANGUAGE BETWEEN 
 THE PUBLICATION OF WICLIF'S BIBLE AND THAT 
 OF THE AUTHORIZED VERSION ; a.d. i400toA.i). 1600. 
 Crown 8vo. 2.S. 6d. 
 
 This Essay gained the Le Bas Prize for the year 1870. Besides the 
 Introductory Section explaining the aim and scope of the Essay ^ 
 there are other three Sections and three Appendices. Section If. 
 treats of ^^ English before Chaucer.^' III. ^'' Chancer to Caxton.^' 
 fV. '■'' From Caxton to the Authorized Version.^'' — Appendix: I. 
 ^^ Table of English Literature^'"' A.D. 1300 — A.D. 161 1. //. 
 ''Early English Bible.'' III. ''Inflectional Changes in the Verb." 
 Ihis ivill be found a most valuable help in the study of our language 
 during the period embraced in the Essay. "As 7ve go loith him,'^ 
 the Athrn.'EUM says, "7ue learn something ne-iV at er<ery step.'' 
 
 Yonge.— HISTORY OF CHRISTIAN NAMES. By Char- 
 [OTTE M. YoNGE, Author of "The Heir of Redclyffe." Two 
 \'ols. Crown Svo. i/. \s. 
 
 Miss Yonge' s 7vork is acknoavledged to be the authority on the interest- 
 iui^ subject of which it treats. Until she 7Wote on the subject, the 
 hist orv of names — especially Christian Names as distinguished from 
 Surnames — had been but little examined ; nor lohy one should be 
 popular and another forgotten — why one should flourish through- 
 out Europe, another in one country alone, another around some 
 petty district. In each case she has tried to find out 7ühence the 
 name came, whether it had a patron, and whether the patron took 
 it from the myths or heroes of his oion country^ or from the mean- 
 ing of the 7C'ords. She has then tried to classify the names, as to 
 treat them merely alphabetically laould destroy all their interest and 
 connection. They are classified first by language, beginning with 
 I/el>re7i' and coming doiun through Greek and Latin to Celtic, 
 7eutonic, Slavonic, and other sources, ancioit and modern ; then 
 by meaning or spirit. "An almost exhaustive treatment of the 
 subject . . . The painstaking toil of a thoughtful and cultured 7nind 
 on a most interesting theme." — London Quarterly. 
 
 R. CLAY, SONS, AND TAYLOR, PRINTERS, LONDON. 
 
 
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