"A prophet is not without honor save in his own country." This was strikingly exemplified by the attitude of professional Leipzig towards Wagner during the earlier stages of his career. Leipzig was at that time regarded by the outlying world as the musical centre of the universe, a Mecca with a magic balm, dispensed by a priesthood whose Mahomet was Mendelssohn. The town had been a prominent seat of learning since the first part of the fifteenth century, had possessed Bach as cantor of its "St. Thomas' school," had for a long series of years maintained its "Gewandhaus" concerts, and was the greatest of all book- and music-selling marts. These circumstances combined to make Leipzig stand out in bold relief on the world's map, but it required Mendelssohn's magnetism to make its attractions irresistible. The Conservatory faculty of those days included all the most prominent musicians domiciled in Leipzig, for the town was too small to furnish adherents for such contra-minded parties or factions as exist in larger cities. Mendelssohn had enlisted his forces with well-directed regard for harmony, but their creed, although properly placing Bach as the corner-stone of musical faith, was too narrow in its tenets to admit those to communion whose fancy led them outside the pale of traditional forms. They were even lukewarm towards Schumann, who had lived among them, had created a period,[A] and had contributed treasures to musical literature so luminous with genius that, as the mists of prejudice clear away, they will eclipse forever all contemporaneous productions in the various forms which they followed. The rugged boldness of originality was in the esteem of the Leipzig pedagogue but an exhibition of crude ignorance. Those who could not or would not recognize Schumann's great throbbing heart in his writings, because he, in expressing his individuality, did not always follow prescribed formulæ, would naturally have rejected Wagner, for his earlier works were not cast in classic moulds. [A] Composers who originate forms or methods that recommend themselves to the musical world because they voice recognizable advance in art expression, create periods. Mendelssohn was in his more earnest moods a modernized Bach. He did not originate forms, but adapted those of his great ideal to our nineteenth century habits of thought and feeling. He did this inimitably, but he was more finished than forceful or bold, and his impress on art was consequently not deep, although extremely salutary. Those of Wagner's creations which had been before the public previous to 1860 were characterized by few departures from Weber and Meyerbeer in scheme. Wagnerian harmonies were, however, too strong for the Leipzig critic, but the public flocked to hear them, and was pleased. Original ideas often find first recognition among the non-professional, because musical leaders are so saturated with pedantry that sparks of genius cannot quickly kindle them to enthusiasm.