While residing in Frankfort-on-Main, Mendelssohn made the acquaintance of a certain family named Jean-renaud, the head of the household being a widow whose husband had been the pastor of the French Reformed Church. By his frequent visits to the house, it soon became evident that Mendelssohn was attracted in no ordinary way. But such was his demeanour that, although it was really the daughter Cécile to whom his heart went out, his friends were under the impression that the mother, who was still an attractive woman, was the load-star. To Hiller, with whom he was on terms of intimacy, Mendelssohn revealed his true feelings, and spoke with all the enthusiasm of young love of his regard for Fräulein Cécile. Hiller naturally looked daily for the usual climax, when to his astonishment he learned that Mendelssohn had suddenly left Frankfort and gone to Holland, where he stayed for a month. This he did, as he afterwards told Hiller, deliberately to test how much and how truly he was in love. On his return, having no doubt proved the genuineness of his feelings, he became formally engaged to the young lady, and early in the following year (1837) they were married. [Sidenote: =Mendelssohn’s Chamber Music=] It is not easy even now to deal equitably with Mendelssohn’s chamber music, for his abundant and charming melody, combined with a clear and transparent style, are apt to beguile the judgment, and to obscure the fundamental truths whereby all art must be tried. The slow movement and the scherzo of the E minor String Quartett, for example, are admirable, and even though they may not be said to have added anything to the form in which they are written, yet the pure and elevated beauty of the music is entirely satisfying. On the other hand, some movements, such as the String Quartett op. 44 in D major, are, as has been often remarked, quite orchestral in style and effect, and the same may be said of the Quartett op. 80. Mendelssohn also set a pattern in the two Piano Trios, which has been too much followed by later composers, whereby the piano part dominates and tends to obscure the other instruments. Especially in some movements of the D minor op. 49 is this the case, whereby the balance of parts is disturbed, and the artistic value lowered, of a work otherwise crowded with beautiful ideas.