What we feel in the man, beyond all else, is poise--one of the best of human qualities but not the most productive in art. He knew and loved the classical musicians--Bach, Mozart, and Beethoven--indeed, the ‘resurrection’ of Bach dates from his performance of the Matthew Passion in Berlin in 1828. He also felt, in a delicate way, the romantic spirit of the age, and gave the most charming poetical pictures in his overtures. All that he did he did with a polish that recalls Mozart. His self-criticism was not profound, but was always balanced. In his personal character he seems almost disconcertingly perfect; we find ourselves wishing that he had committed a few real sins so as to become more human. His appreciation of other musicians was generous but limited; he never fully understood the value of Schumann, and his early meeting with Berlioz, though impeccably polite, was quite mystifying. His ability as an organizer and director was marked. His work in Leipzig made that city, next to Paris, the musical centre of Europe. Though his culture was broad he was scarcely affected by external literary or political currents, except to refine certain aspects of them for use in his music. VIII There were more reasons than the accidental conjunction of the Schumanns and Mendelssohn for the brilliant position of Leipzig in German musical life. For centuries the city had been, thanks to its university, one of the intellectual centres of Germany. Being also a mercantile centre, it became the logical location for numerous publishing firms. The prestige and high standard of the _Thomasschule_, of which Bach had for many years been ‘Cantor,’ had stimulated its musical life, and even when Mendelssohn arrived in 1835 the Gewandhaus Orchestra was one of the most excellent in Europe. The intellectual life of the city was of the sort that has done most honor to Germany--vigorous, scholarly, and critical, but self-supporting and self-contained. Around Mendelssohn and his influence there grew up the ‘Leipzig school,’ with Ferdinand Hiller,[84] W. Sterndale Bennett,[85] Carl Reinecke,[86] and Niels W. Gade[87] as its chief figures. Mendelssohn’s emphasis on classicism and moderation was probably responsible for the tendency of this school to degenerate into academic dryness, but this was not present to dim its brilliancy during Mendelssohn’s life.