We are told that Mendelssohn spent his last days laboring over a new oratorio—“Christ.” It was commenced during his stay in Italy, and while rambling among the mountains of Switzerland he is said to have been inspired with the theme for his work, which he hoped to make his best. Never was wealth used more wisely and religiously than his. Not only did he clothe the naked and feed the hungry, but every one who came near him with aspirations for an ennobling life he advanced. He undertook a tremendous amount of labor in giving concerts in Leipzig, the proceeds of which were devoted to the statue of Bach. At first he undertook to erect such a monument out of his own means, saying “that it was only right that John Sebastian Bach, who had labored so usefully and with such distinguished honor as cantor at the Thomas school at Leipzig, should have a monument in the streets of the city in which he had lived, as an immortal spirit of harmony.” At these concerts he allowed only Bach’s music to be produced, intending in this way, he said, to make the rising generations of musicians more familiar with the works of one to whom he felt under the greatest weight of obligation, and whom he is said to have resembled in the severity of his studies as well as the loftiness of his aims. But this is the expression of Mendelssohn’s best friends; adverse criticism has much to say, and while his motives were pure and his compositions genuine and vivacious, yet in sublime combinations and serious themes Bach and Beethoven can alone be compared. Every winter in Berlin the oratorios of “Elijah” and “St. Paul” are given in the Sing-Academy. This old music hall is a place of memorial scenes, the directorship of which Mendelssohn once applied for, at the earnest solicitation of his friends, and was refused. The enthusiastic audiences which now assemble there to hear his music seem to be as forgetful of this as they are ignorant of the little secluded grave-yard in the outskirts of the city where his immense throng of friends and admirers left him twenty years ago. In beautiful imitation of his noble efforts for Bach’s monument could an appropriation of the money secured by the rendering of his great oratorio be made—an idea which occurs to the mind of strangers in Berlin, but unfortunately not to the citizens, who are less disposed in this case than the Greeks to honor their dead, and who more readily ridicule in Mendelssohn’s death than praise such sentiment as the following: “By the sea’s margin, by the sea’s strand, Thy monument, Themistocles shall stand; By it directed to thy native shore, The merchant shall convey his freighted store, And when her fleets are summoned to the fight, Athens shall conquer with thy grave in sight.”