J.S. Bach differed in almost every respect from Haendel, except that he was born in the same year and was killed by the same doctor. While Haendel left no pupils, with perhaps the exception of his assistant organist, Bach aided and taught his own celebrated sons, Krebs, Agricola, Kittel, Kirnberger, Marpurg, and many other distinguished musicians. Bach twice made an effort to see Haendel at Halle, but without success. On the other hand, there are reasons for believing that Haendel never took the trouble to examine any of Bach's clavichord music. He lived like a conqueror in a foreign land, writing operas, oratorios, and concertos to order, and stealing ideas right and left without compunction; whereas Bach wrote from conviction, and no charge of plagiarism was ever laid at his door. Haendel left a great fortune of twenty thousand pounds. Bach's small salary at the St. Thomas Church in Leipzig made it necessary for him to do much of his own engraving; and at his death, though he had helped many young struggling artists, his widow was left so poor that she had to be supported by public benevolence. Bach's works were neglected by his contemporaries, and it was only in the nineteenth century that he began to be appreciated in a way commensurate with his worth. Bach was born in Eisenach, in Thuringia, and it is of interest to know that as far back as his great grandfather, Veit Bach (born about 1550), music had been the profession of the family. Bach's parents died when he was a boy of ten, and his education was continued by his elder brother, Johann Christoph, at a town near Gotha, where he held a position as organist. The boy soon outstripped his brother in learning, and continued his studies wholly by himself. After filling a position as organist at Weimar, in 1703 he accepted one at a small town, Arnstadt, at a salary of about fifty-seven dollars yearly. He had already begun to compose, and possibly in imitation of Kuhnau, whose so-called "Bible" sonatas were at the time being talked about, he wrote an elaborate clavichord piece to illustrate the departure of his brother, Johann Jakob, who had entered the service of Charles XII of Sweden as oboist. This composition is divided into five parts, each bearing an appropriate superscription and ending with an elaborate fugue to illustrate the postillion's horn. I believe this is the only instance of his having written actual programme music. After leaving Arnstadt he filled positions as organist at Muehlhausen, Weimar, Coethen, etc. It was before 1720 that he paid his two visits to Halle in the hope of seeing Haendel. At this time he had already written the first part of the "Wohltemperierte Clavier," the violin sonatas, and many other great works. Ten years later, when Haendel again came to Germany, Bach was too ill to go to see him personally, but sent his eldest son to invite Haendel to come and see him, although without success.