It is surely unnecessary to ask whether that artist is a genius who, in every form of his art, has produced masterpiece after masterpiece, of an originality which sets them above the achievements of all other ages, distinguished also by a wealth of originality and agreeableness that enslaves every hearer. The most fertile fancy, invention inexhaustible, a judgment so nice as to reject intuitively every irrelevant and jarring detail, unerring ingenuity in employing the most delicate and minute resources of his art, along with an unrivalled technique—these qualities, whose expression demands the outpouring of a man’s whole soul, are the signboards of genius. The man who cannot find them in Bach’s music either is not acquainted with it at all or knows it imperfectly. One needs to be steeped in it thoroughly to appreciate the genius of its author. For the greater the work the closer study is demanded for its apprehension. The butterfly method, a sip here and there, is of little use. But admirable as were the gifts Bach received from nature, he could never have become an accomplished genius had he not learned betimes to avoid the rocks on which many artists, some of them perhaps not less gifted than he, too often founder. I will communicate to the reader some scattered thoughts on the subject and conclude this essay with an indication of the characteristics of Bach’s genius. Even the largest natural gifts, coupled with the strongest propensity for a particular art, offer no more than fruitful soil on which that art may thrive by patient cultivation. Industry, the true begetter of every art and science, is an indispensable factor. Not only does it enable genius to master technique, but it stimulates the critical and reflective faculties also. The very ease with which genius acquires and applies the apparatus of musical composition frequently entices it to leap over root principles in its plunge into deeper waters, or to fly before its wings are grown. In such a case, unless genius is guided back to neglected fundamentals and forced to build itself upon the great examples of the past, it will inevitably expend its treasure uselessly and never attain to its promised dimensions. For it is an axiom, that real progress can never be made, nor the highest perfection be attained, if the foundations are insecure. If arduous heights are to be achieved, the easier obstacles must first be approached and overcome. Guided by his own inexperience no one ever can hope to become great. He must profit by the practice and example of others.