Few professional men have possessed equal influence in our musical circles, with that which was attained by this distinguished artist; and few have succeeded in acquiring so large a share of public patronage. Yet, favourite of the public as he was, from first to last, it must be regretfully added that he failed to secure the cordial sympathy of his professional brethren, to whom his irritability of temper, and _brusquerie_ of manner, rendered his official government no halcyon reign. For all that was thus unpleasant, however, a cause was discovered, that left his real character untouched. Physical disturbance, existing and accumulating for some length of time, before his sudden decease, had impaired the functions of the brain, and unsettled the moral impulses. With such ground for acquittal of the agent, offence was at once forgotten, and sympathy alone entertained. As to the too eager pursuit of pecuniary advantage, which has been sometimes charged upon this artist, it may not be quite so easy to award entire absolution. It is very possible, however, that what seemed the love of money, was really the love of family, urging to provident collection. Should this plea be deemed inconclusive, there would still remain much excuse for the individual, in a certain bias, or tendency, that is notoriously far too prevalent among us. I mean that inveterate habit of referring all things to the _commercial principle_, which, causing the musical art, in this country, to be regarded mainly as an object of _gain_—is bitterly unfavourable to the growth of a kindly feeling among its members (each of whom too often learns to consider his neighbour as a rival to be repressed, rather than a friend to be assisted)—and wears down the enthusiasm for high art, by a vexatiously incessant attrition with common arithmetic. “Non bene conveniunt, nec in unâ sede morantur, _Plutus et Euterpe_!” In Germany, on the contrary, where art is loved chiefly for itself, and where moderate desires attend its exercise, the social feeling among musical men—a thing delightful to witness—is as beneficial in its influence on the character of the individual professor, as in its effect on the general interests of the art. The same remark applies, in a lesser degree, to the credit of the musical profession in France. It is not too much to hope that the now obviously increasing diffusion of musical taste and intelligence among ourselves, will bring, as its ultimate consequences, a diminished care for emolument, and a closer fraternal feeling among our artists.