which rank among the masterpieces of all times; fourteen string quartets and many other chamber works; piano sonatas of deep poetic content, and shorter piano pieces (_Moments musicals_, impromptus, etc.) poured from his magic pen, but especially songs, to the number of 650, a great many of which are immortal. Schubert was able to publish only a portion of this prodigious product during his lifetime. Much of it has since his death been resurrected from an obscure bundle of assorted music found among his effects, and at his death valued at 10 florins ($2.12)! A perfect stream of posthumous symphonies, operas, quartets, songs, every sort of music appeared year after year till the world began to doubt their authenticity. Schumann, upon his visit to Vienna in 1838, still discovered priceless treasures, including the great C major symphony. As a man Schubert never got far away from the peasant stock from which he came. He was casual and careless in his life; a Bohemian rather from shiftlessness than from high spirits; content to work hard and faithfully, and demanding nothing more than a seidel of beer and a bosom companion for his diversion. He was never intellectual, and what we might call his culture came only from desultory reading. He was as sensitive as a child and as trusting and warm-hearted. His musical education had never been consistently pursued; his fertility was so great that he preferred dashing off a new piece to correcting an old one. Hence his work tends to be prolix, and, in the more academic sense, thin. Toward the end of his life, however, he felt his technical shortcomings, and at the time of his death had made arrangements for lessons in counterpoint from Sechter. It is fair to say that we possess only Schubert’s early works. Though they are some 1,800 in number, they are only a fragment of what he would have produced had he reached three-score and ten. By the age at which he died Wagner had not written ‘Tannhäuser’ nor Beethoven his Third Symphony.