Together with his wonderful gifts as an artist, Bach united great clearness and acuteness of intellect, strength of will, a persistency which often amounted to obstinacy, the love for order and a high sense of duty. Like all artists, he possessed an irritable temperament, and was liable to passionate outbreaks, but in the main his demeanor was grave and dignified. Though conscious of his worth, he was free from arrogance. He provided generously for his family and his home life was a happy one, nothing affording him more pleasure than the little concerts which he conducted with his wife and children, assisted occasionally by talented pupils. If he sometimes manifested violent excitement when giving instruction to large school classes, he exercised great patience with individual pupils, and showed a happy faculty for teaching them. Instead of oppressing them by the excess of his genius, he drew them up to himself with words of friendly encouragement, and it is certain that he could hold up to them no better example than his own unwearied industry. Among the large number of distinguished artists trained by him are Johann Ludwig Krebs, Gottfried August Homilius, Johann Friedrich Agricola, Johann Philipp Kirnberger, Johann Theophilus Goldberg, Johann Gottfried Müthel; also his own sons, Wilhelm Friedemann, Carl Philipp Emanuel, and Johann Christoph Friedrich. The education of the last he was unable to complete. His latest pupil was Johann Christian Kittel, afterwards organist in Erfurt, who, through his great gifts as a teacher, kept alive in Thuringia for several generations the art of Sebastian Bach. He died in 1809. The old inherited love of race was strongly characteristic of Johann Sebastian. We owe to him a manuscript genealogy of the Bach family, which is now preserved in the royal library at Berlin. The first number is from the hand of Sebastian himself, while the remainder of the work was performed by his son, Philipp Emanuel. The philanthropic and self-sacrificing spirit manifested by Bach towards his pupils was still more fully exemplified in the circle of his family. In the year 1707 he bestowed upon a cousin in needy circumstances a part of his slender salary. While in Weimar, he took into his house a son of his eldest brother, thus requiting the kindness which he had received from the latter as a boy. In Cöthen he devoted himself energetically and with true filial affection to the fulfilment of an honored relative's testamentary bequests, against his own interests and in opposition to the grasping demands of her next of kin. All that we know of Bach's life presents him to us in the light of a strong and noble nature and confirms us in the belief that the truly great artist must as a man always be profoundly worthy of our veneration. [Illustration: Fac-simile of the manuscript of the first page of the first Prelude from Bach's "Well-tempered Clavichord."]