Christophe was no psychologist: he was not bothered with all these arguments: what was dead for him had always been so. He revised his judgment of the past with all the confident and fierce injustice of youth. He stripped the noblest souls, and had no pity for their foibles. There were the rich melancholy, the distinguished fantasy, the kindly thinking emptiness of Mendelssohn. There were the bead-stringing and the affectation of Weber, his dryness of heart, his cerebral emotion. There was Liszt, the noble priest, the circus rider, neo-classical and vagabond, a mixture in equal doses of real and false nobility, of serene idealism and disgusting virtuosity. Schubert, swallowed up by his sentimentality, drowned at the bottom of leagues of stale, transparent water. The men of the heroic ages, the demi-gods, the Prophets, the Fathers of the Church, were not spared. Even the great Sebastian, the man of ages, who bore in himself the past and the future,--Bach,--was not free of untruth, of fashionable folly, of school-chattering. The man who had seen God, the man who lived in God, seemed sometimes to Christophe to have had an insipid and sugared religion, a Jesuitical style, rococo. In his cantatas there were languorous and devout airs--(dialogues of the Soul coquetting with Jesus)--which sickened Christophe: then he seemed to see chubby cherubim with round limbs, and flying draperies. And also he had a feeling that the genial _Cantor_ always wrote in a closed room: his work smacked of stuffiness: there was not in his music that brave outdoor air that was breathed in others, not such great musicians, perhaps, but greater men--more human--than he. Like Beethoven or Händel. What hurt him in all of them, especially in the classics, was their lack of freedom: almost all their works were "constructed." Sometimes an emotion was filled out with all the commonplaces of musical rhetoric, sometimes with a simple rhythm, an ornamental design, repeated, turned upside down, combined in every conceivable way in a mechanical fashion. These symmetrical and twaddling constructions--classical, and neo-classical sonatas and symphonies--exasperated Christophe, who, at that time, was not very sensible of the beauty of order, and vast and well-conceived plans. That seemed to him to be rather masons' work than musicians'.