originality and creative power, though not many have the final stamp of authority to raise them into a class with the great. From the creative standpoint Cornelius’s songs are far superior to Jensen’s. But, because he was unable to give his work the same finish of style that Jensen gave to his, he is not, like Jensen, a name known to every singer of songs. Let us go to Cornelius chiefly for stimulation, leaving in the background for the time our sense of form and finish. Many of Cornelius’s published songs are mainly experimental. He seems to have written what he wrote with much difficulty. It is doubtful if he was often altogether satisfied with the work that left his composing desk. The songs of the ‘Lord’s Prayer’ cycle, for instance, are extremely interesting and impressive in conception, but they nearly always fail in execution. Out of the group only the ninth, ‘And Deliver Us from Evil,’ is quite satisfactory. But the man’s imagination is shown in what he evidently attempted to do in the sixth, ‘And Forgive Us Our Debts,’ which has a fine fugal bass. The third song of the series, ‘Thy Kingdom Come,’ is probably next in interest. Of the other early songs we may mention the ‘Shepherd’s Night-Song,’ ‘In the Moonlight’ (a charming scherzo), the ‘Slumber Song,’ and ‘Think’st Thou of Me?’ Of much beauty is ‘Come, Let Us Wander,’ which obtains a gently colored ‘atmosphere’ with the simplest of means. And among the later songs there are three fine ones which should be mentioned--‘On Molly’s Death,’ to one of Bürger’s famous poems; _Auftrag_ and _Abendgefühl_, the last probably Cornelius’s best song.