The fame of the 'Jubilees' soon spread abroad, and, responding to a demand, they appeared in England, Scotland, and Ireland, with extraordinary success. Their appeal was direct to the hearts of the people, and an echo of it is preserved to this day in the adoption of at least one melody as an English Sunday-school hymn. A second tour took the colored singers into Holland, Switzerland, and Germany as well, and everywhere they met with the deepest appreciation. Received by the sovereigns of both Holland and Germany, they were given the use of the Dutch cathedrals and the Berlin Domkirche for their concerts. The Berlin _Musikzeitung_ indulged in a long laudatory article concerning their music and the artistic finish of their singing, and Franz Abt, the composer, acknowledged their work in the following remark: 'We could not even take our German peasant and reach in generations of culture such results in art, conduct, and character as appear in these freed slaves.' Other musicians have from time to time called the world's attention to the value of negro music. Most prominent among them being Dr. Antonin Dvořák, who, during his stay in America, voiced his admiration of it and made use of the material in several of his best known compositions, notably the 'New World Symphony' and the 'American Quartet.' It will be appropriate to add in conclusion the well-known passage from Dr. Dvořák's article in the 'Century Magazine' of February, 1895, which has caused so much comment: 'A while ago I suggested that inspiration for truly national music might be derived from the negro melodies or Indian chants. I was led to take the view partly by the fact that the so-called plantation songs are indeed the most striking and appealing melodies that have been found on this side of the water, but largely by observation that this seems to be recognized, though often unconsciously, by most Americans. All races have their distinctive national songs which they at once recognize as their own, even if they have never heard them before. It is a proper question to ask, what songs, then, belong to the American and appeal more strikingly to him than any others? What melody will stop him on the street, if he were in a strange land, and make the home feeling well up within him, no matter how hardened he might be, or how wretchedly the tunes were played? Their number, to be sure, seems to be limited. The most potent, as well as the most beautiful among them, according to my estimation, are certain of the so-called plantation melodies and slave songs, all of which are distinguished by unusual and subtle harmonies, the thing which I have found in no other songs but those of Scotland and Ireland.'