The first of Nevin's works to reach any popularity was 'A Sketch Book,' published in 1888. Several of its numbers are still reckoned among the most popular of Nevin's works. This was followed by several similar albums of songs and piano pieces until 1891, when, in a book of piano pieces entitled 'Water Scenes,' he published what was to be a piece of world-wide popularity, 'Narcissus.' 'A Book of Songs' (1893) contains the best of Nevin's vocal works. Regarded as a whole, they lack a uniformity of style and despite Mr. Thompson's assertion[88] that Nevin felt but slightly the influences of other composers, these songs show decided traces of the stamp which the study of other writers put upon his work. Chopin is perhaps the prevailing influence that shows itself. Some of the songs of this group mark Nevin's nearest approach to a dramatic style. In parts of number seven of this group, entitled Nocturne, there is a considerable sweep of fiery strength, and the two entitled 'Orsola's Song' and 'In the Night' exhibit a virile content rarely present in Nevin's work. We need not speak of the more popular songs of Nevin, such as 'The Rosary,' 'Little Boy Blue,' ''Twas April,' and 'Mighty Lak' a Rose.' Their appeal lies largely in the sentimental though genuinely tender and deep touch of pathos which they contain. Nevin's piano works are distinctly Chopinesque. Suave and elegant figures, grateful to the player, abound in these works and show the hand of the skillful pianist that Nevin was. Some of these piano pieces have become quite as popular as have the songs, and the collections entitled 'In Arcady' and 'A Day in Venice' have been placed in the household répertoire. Ethelbert Nevin made no claims for his art. Almost unconscious of the larger world of a more universal expression, which the past and present might have offered to him, he created his own limited world and lived therein. We shall mistake, however, if we judge too slightingly of this world as the dilettante expression of a mere _précieux_. Something there is of genius in a man who can speak to so many. Ethelbert Nevin was an ornament to American music and the fame of his works will outlive the bulk of our more esoteric art. * * * * * It is difficult to find a fitting name to follow that of Nevin. While we have had writers in the smaller forms who equalled and even surpassed Nevin in dramatic force, or in subtleties of construction, the remainder of our purely lyrical writers, it must be said, are on a considerably lower plane and there is lacking in the work of most of them the elegance and fastidiousness which bring these small works within the pale of art. The status of many American songs is--unfortunately with truth--described in Grove's Dictionary (Vol. IV, 'Song'), where it is said: 'Many other American composers whose songs, whilst enjoying a great popularity, descend almost to the lowest level of vocal music.'