A curious sense of the incongruous came over us while standing by the simple stones and recalling the solemn and appropriate demonstration at the time of Felix Mendelssohn’s death, made in every city and town where his genius had been known. Was it true that here in this small, unknown grave-yard they had left him? Was it to yonder small gate the four horses in black accoutrements drew the carriage containing the coffin covered with palm-branches, laurel-wreaths and flowers? And did the great choirs and orchestras of the city pass through with the grand choral, “Jesus my trust,” preceded by all Germany’s musicians, the clergy, civil officers, professors, officers of the army, and the immense throng of admirers? Perplexed by such thought we followed the old porter, who had started with a watering pot to the grave beyond, and asked if a monument was to be erected to Mendelssohn’s memory. “Ach, nein, er war einer Jude, und deshalb ist er vernachlässigt.” A Jew, therefore is his grave neglected. When Paul and Barnabas turned to the Gentiles it was because the Jews “had judged themselves unworthy of everlasting life.” But we are never told that a penitent Jew was treated differently from any one else in the days of the Apostles. Although a Jew by birth, Felix Mendelssohn’s character wanted no principle of the genuine Christian. Never was feeling more sacred and profound, expressed in harmonious strain than he expressed in his great oratorio of “St. Paul” and “Elijah,” nor can the praise of God be more grandly heard on earth than in the double chorus of his XLII. Psalm, when well rendered, or again, when with his pious heart he wished to show the triumph at the creation of light over darkness, which ends with a beautiful duet, “Therefore I sing thy everlasting praise, thou faithful God.”