It was different with Felix Mendelssohn, that halcyon master, who, on account of his lighter, purer, happier soul, quickly acquired admiration, and was equally quickly forgotten: as the beautiful EPISODE of German music. But with regard to Robert Schumann, who took things seriously, and has been taken seriously from the first—he was the last that founded a school,—do we not now regard it as a satisfaction, a relief, a deliverance, that this very Romanticism of Schumann's has been surmounted? Schumann, fleeing into the "Saxon Switzerland" of his soul, with a half Werther-like, half Jean-Paul-like nature (assuredly not like Beethoven! assuredly not like Byron!)—his MANFRED music is a mistake and a misunderstanding to the extent of injustice; Schumann, with his taste, which was fundamentally a PETTY taste (that is to say, a dangerous propensity—doubly dangerous among Germans—