The collection of Schumann's letters so far under consideration met with such a favorable reception that a second edition was soon called for, and this circumstance no doubt promoted the publication of a second series, extending to 1854, two years before Schumann's sad death in the lunatic asylum near Bonn. This second volume includes a considerable number of business letters to his several publishers. In one of these he confides to Dr. Haertel his plan of collecting and revising his musical criticisms, and publishing them in two volumes. But as this letter was, a few months later, followed by a similar one addressed to the publisher Wigand, who subsequently printed the essays, it is to be inferred that Breitkopf & Haertel, though assured of the future of Schumann's compositions, doubted the financial value of his musical essays--an attitude pardonable at a time when there was still a ludicrous popular prejudice against literary utterances by a musician. In 1883, however, after Wigand had issued a third edition of the "Collected Writings on Music and Musicians" (which have also been translated into English by Mrs. Ritter), Breitkopf & Haertel atoned for their error by purchasing the copyright. Schumann's letters to his publishers show that he used to suggest his own terms, which were commonly acceded to without protest. For his famous quintet he asked twenty louis d'or, or about $100; for "Paradise and the Peri," $500; the piano concerto, $125; Liederalbum, op. 79, $200; "Manfred," $250. He frequently emphasizes his desire to have his compositions printed in an attractive style, and in 1839 writes to Haertel that he cannot describe his pleasure on receiving the "Scenes of Childhood." "It is the most charming specimen of musical typography I have ever seen." The few misprints he discovers in it he frankly attributes to his MS. In a letter to his friend Rosen he writes that "it must be a deucedly comic pleasure to read my Sanskrit." But his musical handwriting appears to have been nearer to Sanskrit than his epistolary, if we may judge by the specimen fac-similes printed in Naumann's "History of Music."