To have known him was an education in primal manhood. To sit at his hospitable board, with him at the head of the table, was an inspiration in the genius of life and the art of living. One of his familiars started the joke that when Wake drew the second white bean “he got a peep.” He took it kindly; though in my intimacy with him, extending over thirty years, I never heard him refer to any of his adventures as a soldier. It was not possible that such a man should provide for his old age. He had little forecast. He knew not the value of money. He had humor, affection and courage. I held him in real love and honor. When the Mexican War Pension Act was passed by Congress I took his papers to General Black, the Commissioner of Pensions, and related this story. “I have promised Gen. Cerro Gordo Williams,” said General Black, referring to the then senior United States Senator from Kentucky, “that his name shall go first on the roll of these Mexican pensioners. But”—and the General looked beamingly in my face, a bit tearful, and says he: “Wake Holman’s name shall come right after.” And there it is. III I was very carefully and for those times not ignorantly taught in music. Schell, his name was, and they called him “Professor.” He lived over in Georgetown, where he had organized a little group of Prussian refugees into a German club, and from my tenth to my fifteenth year—at first regularly, and then in a desultory way as I came back to Washington City from my school in Philadelphia, he hammered Bach and Handel and Mozart—nothing so modern as Mendelssohn—into my not unwilling nor unreceptive mind, for my bent was in the beginning to compose dramas, and in the end operas. Adelina Patti was among my child companions. Once in the national capital, when I was 12 years old and Adelina 9, we played together at a charity concert. She had sung “The Last Rose of Summer,” and I had played her brother-in-law’s variation upon “Home, Sweet Home.” The audience was enthusiastic. We were called out again and again. Then we came on the stage together, and the applause increasing I sat down at the keyboard and played an accompaniment with my own interpolations upon “Old Folks At Home,” which I had taught Adelina, and she sang the words. Then they fairly took the roof off. Once during a sojourn in Paris I was thrown with Christine Nilsson. She was in the heyday of her success at the Theater Lyrique under the patronage of Madame Miolan-Carvalho. One day I said to her: “The time may come when you will be giving concerts.” She was indignant. “Nevertheless,” I continued, “let me teach you a sure encore.” I played her Stephen Foster’s immortal ditty. She was delighted. The sequel was that it served her even a better turn than it had served Adelina Patti. I played and transposed for the piano most of the melodies of Foster as they were published, they being first produced in public by Christy’s Minstrels. IV