=Personal Traits=.—Mendelssohn is described as having an unusually animated, winning personality. He was immensely fond of society, which he could enjoy without detriment to his work. His letters describe in detail his innumerable professional engagements, his round of social festivities and his journeys with equal fidelity. Mendelssohn was fond of out-of-door life, walking, riding and swimming; he also greatly enjoyed dancing. One of his favorite relaxations was to sketch from nature or paint in water-colors. Mendelssohn was a remarkable pianist, of an unaffected type, not a virtuoso, yet his interpretations were full of vigor, charm and a thoroughly musical spirit. His improvisations were remarkable for their spontaneous invention, brilliance and science displayed, and his cadenzas to Beethoven’s 4th concerto and Mozart’s, in D minor, were striking examples of his skill. Mendelssohn was also a remarkable organist, if English testimony is to be credited. At all events, he did much to further the knowledge of Bach’s organ works. Mendelssohn’s incessant activity undoubtedly hastened his death; the amount that he compressed into his short life was incredible. =Compositions=.—The works most representative of Mendelssohn are the “Scotch” and “Italian” symphonies, the overtures “A Calm Sea and a Prosperous Voyage,” “A Midsummer Night’s Dream,” “The Hebrides,” “Melusina,” “Ruy Blas”; the concertos and two smaller pieces for piano and orchestra; the concerto for violin; the octet for strings; two quintets and seven quartets; three quartets for piano and strings; two trios; two sonatas for piano and ’cello; for the piano, six preludes and fugues; three sonatas; the “Serious Variations”; six books of “Songs Without Words”; many smaller pieces, including the “Capriccio,” Op. 8; the “Rondo Capriccioso,” Op. 14; the Caprices, Op. 33; the Scherzo à Capriccio and others; sonatas, preludes and fugues for organ; the oratorios “St. Paul,” and “Elijah”; music to “A Midsummer Night’s Dream,” to the dramas “Athalie,” “Antigone” and “Œdipus”; the cantata “Walpurgis Night.” He also wrote a great deal of church music, psalms, hymns, motets, and cantatas for various occasions, including the “Lobgesang,” a symphony-cantata; many part-songs, duets and songs for single voice with piano accompaniment. [Illustration: FELIX MENDELSSOHN-BARTHOLDY.]