The most amazing biography from the standpoint of length, however, is that of Sir Arthur Sullivan. It runs to three and a third columns (being much longer than Haydn’s!) and is full of high praise of a narrowly provincial character. Thomas Attwood receives a half-column biography; Balfe, the composer of _The Bohemian Girl_, receives nearly a column; Julius Benedict, two-thirds of a column; William Jackson, nearly two-thirds of a column; Mackenzie, over three-fourths of a column; John Stainer, two-thirds of a column; Charles Stanford, nearly a column; Macfarren, over half a column; Henry Hugo Pierson, half a column; John Hullah, considerably over half a column; William Crotch, over half a column; Joseph Barnby, nearly half a column; John Braham, two-thirds of a column. And many others of no greater importance receive liberal biographies—for instance, Frederic Clay, John Barnett, George Elvey, John Goss, MacCunn, James Turle, and William Vincent Wallace. Bearing all this in mind, we will now glance at the biographies of modern German composers in the _Encyclopædia Britannica_. Johann Strauss, perhaps the greatest of all waltz writers, is given only half a column, less space than that given to John Field or William Crotch; and the only criticism of his music is contained in the sentence: “In Paris he associated himself with Musard, whose quadrilles became not much less popular than his own waltzes; but his greatest successes were achieved in London.” Hummel, the most brilliant virtuoso of his day, whose concertos and masses are still popular, receives less space than John Hatton. But what of Brahms, one of the three great composers of the world? Incredible as it may seem, he is given a biography even shorter than that of Sir Arthur Sullivan! And Robert Franz, perhaps the greatest lyrical writer since Schubert, receives considerably less space than William Jackson. Richard Strauss is allotted only a column and two-thirds, about equal space with Charles Burney, the musical historian, and William Byrd; and in it we are given little idea of his greatness. In fact, the critic definitely says that it remains to be seen for what Strauss’s name will live! When one thinks of the tremendous influence which Strauss has had, and of the way in which he has altered the musical conceptions of the world, one can only wonder, astounded, why, in an encyclopædia as lengthy as the _Britannica_, he should be dismissed with so inadequate and inept a biography.