Bach was never in a position to make what is called a brilliant fortune.(219) He held a fairly lucrative office, but his income had to maintain and educate a large family. He neither possessed nor sought other means of livelihood, and was too absorbed in his art and work to think of accepting engagements which, in those days, and to a man of his genius, certainly would have brought riches. Had he possessed a taste for travel he would, as even one of his detractors admits, have “drawn upon himself the admiration of the whole world.” But he preferred a quiet domestic life, constant occupation in his work, with contentment and a moderate competence, like his forbears. His modesty, however, did hot prevent him from receiving manifold proofs of regard and affection and marks of honourable distinction. Prince Leopold of Cöthen, Duke Ernst August of Weimar,(220) and Duke Christian of Weissenfels, all showed sincere regard for him, which must have been the more agreeable to him seeing that they were all sound judges of music. At Berlin, as at Dresden, he was universally honoured and respected. If we add to these testimonies the fact that he captured the admiration of all who heard him play or were acquainted with his music, then we may be sure that Bach, “singing for himself and the Muses,” received at the hands of Fame the recognition he valued most, and cherished it far more than the trivial honour of a ribbon or gold chain. I add that, in 1747, Bach became a member of the “Society of the Musical Sciences,” founded by Mizler, only because we owe to the circumstance his admirable Choral Variations on _Vom Himmel hoch._(221) He presented them to the Society on his admission and they were engraved subsequently.(222) CHAPTER IX. BACH’S COMPOSITIONS To have produced so many great works in all forms of musical expression Bach necessarily must have been a prolific writer. For if a composer be the greatest genius in the world, unless he constantly exercises his art he cannot hope to produce real masterpieces. Superlative excellence is the fruit of indefatigable application. Yet in Bach’s case we should be wrong to acclaim as masterpieces all the products of his great activity just because masterpieces at length were the fruit of it. Already in his early compositions we find undeniable evidence of genius. But they are blemished by faults, passages poor in quality, extravagant, insipid, that are hardly worth preserving, though of interest to the student who wishes to trace from its source the development of Bach’s genius.