of technical resources far beyond the ken of their elder brothers; also that, by virtue of the more subjective qualities characteristic of the music of their period, as well as the vastly broadened musical culture of this later day, they were able to appeal more readily to a very wide audience. The historical value of these men lies in their exploitation of these same technical resources. They thoroughly grasped the formulæ of their models; what the pioneers had to hew out by force, these followers acquired with ease. They worked diligently within these limits, exhausting the possibilities of the prescribed area and proving the ground, so to speak, so that newcomers might tread upon it with confidence. They were not as uncompromising, perhaps, as the pioneers and high-priests themselves and therefore fused styles that others thought irreconcilable. What seemed iconoclastic became commonplace in their hands. Thus their eclecticism opened the way for new originalities; their very conservatism induced progress. I Germany, it will be remembered, was, during Wagner's lifetime, divided into two camps: the classic-romantic Mendelssohn-Schumann school which later rallied about the person of Brahms, on the one hand, and the Wagner-Liszt, sometimes called the late-romantic or 'New German' school, on the other. The adherents of the former are those whom we have called the poets, the latter the painters, in music; terms applying rather to the manner than to the matter, since the 'painters,' for another reason--namely, because they believed that a poetic idea should form the basis of the music and determine its forms--might with equal rights call themselves 'poets.' And, indeed, their followers, the 'New Germans,' among whom we reckon Mahler and Strauss, constitute what in a later chapter we have called the 'poetic' school of contemporary Germany. Few musicians accepted Wagner's gospel in his lifetime. Raff and other Liszt disciples, the Weimar group, in other words, were virtually the only ones. A host, however, worshipped the names of Mendelssohn and Schumann. They gathered in Leipzig, their citadel, where Mendelssohn reorganized the Gewandhaus concerts in 1835,[2] and founded the Royal Conservatory in 1843, and in the Rhine cities, where Schumann's influence was greatest. These men flourished during the very time that Wagner was the great question of the day. While preaching the gospel of romanticism, they also upheld the great classic traditions. The advent of Brahms, indeed, brought a revival of pure classic feeling. This persists even to-day in the works of men whose romantic inspirations, akin to Mendelssohn, Schumann, and Chopin, find expression in forms of classic cast.