ral
of Cologne (who that loves music does not remember Liszt's setting of
Heine's song "Im Rhein," where he translates the glory of the Cathedral
into music?). Liszt was then staying at the island of Nonneworth, near
Bonn, and a musical society, the Liedertafel, resolved to escort him
up to Cologne with due pomp, and so made a grand excursion with a great
company of invited guests on a steamboat hired for the purpose. A fine
band of music greeted Liszt on landing, and an extensive banquet was
then served, at which Liszt made an eloquent speech, full of wit and
feeling. The artist acceded to the desire of the great congregation of
people who had gathered to hear him play; and his piano was brought
into the ruined old chapel of the ancient nunnery, about which so many
romantic Rhenish legends cluster. Liszt gave a display of his wonderful
powers to the delighted multitude, and the long-deserted hall of
Nonneworth chapel, which for many years had only heard the melancholy
call of the owl, resounded with the most magnificent music. Finally
the procession with Liszt at the head marched to the steamboat, and the
vessel glided over the bosom of the Rhine amid the dazzling glare of
fireworks and to the music of singing and instruments. All Cologne was
assembled to meet them, and Liszt was carried on the shoulders of his
frantic admirers to his hotel.

In common with all other great musicians, Liszt has throughout life been
a reverential admirer of the genius of Beethoven, an isolated force
in music without peer or parallel. In his later years Liszt bitterly
reproached himself because, in the vanity and impetuosity of his youth,
he had dared to take liberties with the text of the Beethoven sonatas.
Many interesting facts in Liszt's life connect themselves, directly
or indirectly, with Beethoven. Among these is worthy of mention our
artist's part in the Beethoven festival at Bonn in 1845, organized to
celebrate the erection of a colossal bronze statue. The enterprise had
been languishing for a long time, when Liszt promptly declared he
would make up the deficiency single-handed, and this he did with great
celerity. In an incredibly short time the money was raised, and the
commission put in the hands of the sculptor Hilbnel, of Dresden, one of
the foremost artists of Germany.

The programme for the celebration was drawn up by Liszt and Dr. Spohr,
who were to be the joint conductors of the festival music. A thousand
difficulties