This was possible because Liszt was a developed artistic nature, who did not fall in with the established scheme, was by everybody differently understood, differently loved, differently hated. We can distinguish three types of artists. The one is the rapid composer, whose new thoughts readily find their new suitable form. The second class is that of the artists of the will--great innovators, like Manet and Degas among the painters, who worked not so much by their visible productiveness, as by their personal influence, exerted from day to day; an influence which after their death seems almost inconceivable. The third consists of the compilers, classics in the historical sense, who form a synthesis of all the constituent parts, a unity of opposites, into which history continually diverges, a conjunction of all begun and severed paths, the complete culture of a time made living. Liszt belongs to none of these types; he belongs to the last two _together_. The union of the innovator and the classic forms his essence; and in understanding this lies the complete comprehension of him. He possessed a double power, which influenced the world as it did, because the world never saw the one half of his nature before the other. Liszt the revolutionary cast his seed wide into the world. His system of patronage, founded on artistic feeling, not merely smoothed the way for Wagner and Berlioz, but assured to every suppliant the preservation of a modicum of self-respect and a modicum of hope. He pointed out to the modern musical development, in a kind of theoretical praxis peculiar to himself, the paths which led from the revolutionary principles of Berlioz to the popular musical realism of to-day. He scattered over both hemispheres the seeds of intimate personal instructions, of great and small disclosures; so that even now eternal gratitude to this most kind-hearted of all artists is felt over the world. [Illustration: Title-page of Hofmeister’s Edition of Liszt’s Op. 1.]