Yet once more. The Bach family was full of affection and sympathy one toward the other. Each year witnessed a reunion of the various members of the family scattered throughout Thuringia, and each came bearing the gift of music. As a child among the elders we can imagine how the young Sebastian revered his uncles, Johann Christopher and Michael Sebastian, in whom were conserved and developed the Lutheran tonal principles and traditions; how he somewhat feared the austere character of his elder brother, Johann Christopher, to whose charge he was intrusted upon the death of his father. But we need not imagine how the soul of the young boy was filled with inexpressible yearning for the art of music. We know that it was so. His brother, who instructed him, gauged not the nature of the lad. Often and often did the boy's wistful eyes and loving heart covet the possession of a manuscript book kept by his brother in strict reserve, containing a priceless collection of compositions by the great German masters and mediators. The boy extracted them from their resting-place, and we see the young tone-prophet striving to master the art-forms of Reinken, Buxtehude, Frescobaldi, Kerl, Froberger, and Pachelbel, endeavoring to wrest from them their style and inmost meaning by the light of the moon's pale rays, which led, alas! in after-years to blindness. What revelations came to the soul of the young musician we know not. But his genius thus directed knew no pause until it had won forever the freedom of the tonal art, until the last fetter of conventionality had been removed, until in all dignity and beauty music came forth, henceforth to comfort and solace the human heart. But of this anon. We trace the young boy to school; we see him a chorister in the choir of St. Michael's, Lueneburg. Here he entered the gymnasium, studying Greek and Latin, organ-and violin-playing. Here, too, he exhausted the treasures of the musical library. But at Hamburg the great Reinken was giving a series of organ recitals. Thither young Bach repaired. At Celle he became acquainted with several suites and other compositions of celebrated French masters. In 1703 he became violinist in the Saxe-Weimar orchestra, and in the same year, aged eighteen, he was appointed organist at the new church at Arnstadt, where other members of his family had held similar positions. Thus already we have ample evidence both of intense activity and catholicity of taste, and now, a mere youth, he enters upon his life-work: the perfecting of church music, especially the chorale form, and the emancipation of the art from any influence whatsoever other than derives from contact with nature and emotion. If we ask what equipment he had for his task, we answer: enthusiasm, so deep, so tempered in all its qualities, that, though in a few years he became the ablest performer of his time upon the harpsichord and organ, yet never once is the term "virtuoso" associated