The pre-eminence of _music_ in the romanticists of 1830 and 1840. Delacroix. Ingres--a passionate musician (admired Gluck, Haydn, Beethoven, Mozart), said to his pupils in Rome: "Si je pouvais vous rendre tous musiciens, vous y gagneriez comme peintres"--likewise Horace Vernet, who was particularly fond of Don Juan (as Mendelssohn assures us, 1831); Stendhal, too, who says of himself: "Combien de lieues ne ferais-je pas à pied, et à combien de jours de prison ne me soumetterais-je pas pour entendre _Don Juan ou le Matrimonio segreto_; et je ne sais pour quelle autre chose je ferais cet effort." He was then fifty-six years old. The borrowed forms, for instance: Brahms as a typical "Epigone," likewise Mendelssohn's cultured Protestantism (a former "soul" is turned into poetry posthumously ...) --the moral and poetical substitutions in Wagner, who used _one_ art as a stop-gap to make up for what another lacked. --the "historical sense," inspiration derived from poems, sagas. --that characteristic transformation of which G. Flaubert is the most striking example among Frenchmen, and Richard Wagner the most striking example among Germans, shows how the romantic belief in love and the future changes into a longing for nonentity in 1830-50. 106. How is it that German music reaches its culminating point in the age of German romanticism? How is it that German music lacks Goethe? On the other hand, how much Schiller, or more exactly, how much "Thekla"[5] is there not in Beethoven! Schumann has Eichendorff, Uhland, Heine, Hoffman, Tieck, in him. Richard Wagner has Freischütz, Hoffmann, Grimm, the romantic Saga, the mystic Catholicism of instinct, symbolism, "the free-spiritedness of passion" (Rousseau's intention). The _Flying Dutchman_ savours of France, where _le ténébreux_ (1830) was the type of the seducer. _The cult of music,_ the revolutionary romanticism of form. Wagner _synthesises_ German and French romanticism. [Footnote 5: Thekla is the sentimental heroine in Schiller's _Wallenstein._--TRANSLATOR'S NOTE.] 107.