For confirmatory evidence we have only to trace the growth of the Bach family. The progenitor, Veit Bach, was born at Wechmar, near Gotha, in 1550, and, following his trade as a baker, settled, after considerable wanderings, near the Hungarian frontier. Veit Bach was a stanch Lutheran. Whether the Lutheran services had given him a love of music, or whether they had only quickened a constitutional sympathy, it is impossible to say. Certain it is that he was passionately fond of music, and, cast for a period among a population whose emotions found constant and ready utterance in tone, he brought back to Wechmar, whither he had returned on account of religious persecution, his beloved cythringa and the art of playing it. There is evidence that this knowledge afforded him consolation and enjoyment in the quiet monotony of his life. While the mill was working, Veit Bach was often playing; and doubtless the peculiar charm and rhythm of old Hungarian melodies, songs of the people, which he had learned from the wandering gypsies, recurred to him, as well as those grand devotional hymns on which he had been nourished from childhood. We have said that Veit Bach was a stanch Lutheran. From father to son through generations, the Lutheran doctrine, pure and undefiled, had been handed down, accompanied by the musical gift, until both, uniting in Sebastian Bach, born at Eisenach in 1685, served to glorify the Lutheran chorale and the art which perfected it. Again, the traditions of the great reformer must have been imbibed by Sebastian Bach from infancy. Surrounding his native town lay a circle of wooded heights, from one of which arose the Wartburg, that illustrious shrine of the German nation whither in mediæval and modern times her sons have repaired to exhibit and replenish their lamp of genius. There the minnesingers had gathered in contest a song; thither as a modern Elijah came the great monk, weary of soul, yet whose immortal genius unfolded the page of Sacred Writ; and down the wood-clad slope came issuing the melody of the Hebrew psalmist, translated into German speech and entering into German hearts, mingled with the narrative of the Redeemer's passion lit by awful and solemn glory of Eternal Love. Who shall say that young Bach knew not of these things? Who will contend that, when his genius matured and ripened, the immortal tones in which the eternal passion was portrayed owed nothing to this sympathy of association, this spiritual life with the great reformer born two centuries before?