He is the first composer of world-note since Brahms who did his best work for the piano. Others have used that instrument as a means merely, reserving their crowning efforts for the orchestra, where it is, of course, far less difficult to achieve fine effects. While he wrote successful orchestral suites, he dignified the single instrument by devoting his first thought to piano literature. His humorous suite, "The Marionettes," very strongly suggests Jerome K. Jerome's "Stageland," in which the villain is represented as an individual who always wears a clean collar and smokes a cigarette. The hero approaches the heroine from the rear and "breathes his attachment down her back," and the poor heroine is pursued by the relentless storm, while on the other side of the street the sun is shining. MacDowell portrays the coquettish "Soubrette," the longing "Lover," the strong-charactered "Witch," the gay "Clown," the sinister "Villain" and the simple, tender "Sweetheart," with a Prologue indicating "sturdy good humor" and an Epilogue to be rendered "musingly, with deep feeling." The suite is very attractive and in sharp contrast to his romantic, heroic and lyric work. Another potent factor in the formation of MacDowell's style of composition was his love of nature. No one has put truer brooks, birds, flowers, trees, meadows or sea into tone. Whenever he "loafed and invited his soul," the tired, city-worn world reaped the benefit. His lesser piano compositions may be, in a sense, considered in the light of a diary. We are with him in a fisherman's hut, in deep woods, on a deserted farm, in the haunted house, by the lily pond, in mid-ocean, by a meadow brook, by smoldering embers, always seeing the picture, hearing the voices or feeling the atmosphere that appealed to his artist mind. The charm of common things, the ever-present beauty and harmony in all forms of life, supplied him with endless inspiration. In portraying nature, he is in no sense a copyist. He does not describe a scene, an occasion or an object, but suggests it, being an adept in the use of musical metaphor. Robert Louis Stevenson says that the one art in literature is to omit. "If I knew how to omit," says he, "I should ask no other knowledge." Painters tell us that the highest evidence of skill in transferring nature to canvas is to avoid too much detail, and they squint up their eyes in order not to see too much. These standards prove MacDowell the artist. He does not make the mistake that so many preachers and public teachers do of presuming upon the ignorance or stupidity of his hearers, but leaves something to their imagination and inner artistic senses.