t almost be fancied the sound
of the sympathetic communion of good and evil spirits, with whose
presence mystics formerly claimed man was constantly surrounded.
Wagner's use of the orchestra may be illustrated from the opera of
"Lohengrin."

The ideal background, from which the emotions of the human actors in the
drama are reflected with supernatural light, is the conception of the
"Holy Graal," the mystic symbol of the Christian faith, and its descent
from the skies, guarded by hosts of seraphim. This is the subject of the
orchestral prelude, and never have the sweetnesses and terrors of the
Christian ecstasy been more potently expressed. The prelude opens with
long-drawn chords of the violins, in the highest octaves, in the most
exquisite _pianissimo_. The inner eye of the spirit discerns in this the
suggestion of shapeless white clouds, hardly discernible from the aerial
blue of the sky. Suddenly the strings seem to sound from the farthest
distance, in continued _pianissimo_, and the melody, the Graal-motive,
takes shape. Gradually, to the fancy, a group of angels seem to reveal
themselves, slowly descending from the heavenly heights, and bearing
in their midst the _Sangreal_. The modulations throb through the air,
augmenting in richness and sweetness, till the _fortissimo_ of the full
orchestra reveals the sacred mystery. With this climax of spiritual
ecstasy the harmonious waves gradually recede and ebb away in dying
sweetness, as the angels return to their heavenly abode. This orchestral
movement recurs in the opera, according to the laws of dramatic fitness,
and its melody is heard also in the _logos_ of Lohengrin, the knight of
the Graal, to express certain phases of his action. The immense power
which music is thus made to have in dramatic effect can easily be
fancied.

A fourth prominent characteristic of the Wagner music-drama is that, to
develop its full splendor, there must be a cooperation of all the arts,
painting, sculpture, and architecture, as well as poetry and music.
Therefore, in realizing its effects, much importance rests in the
visible beauties of action, as they may be expressed by the painting
of scenery and the grouping of human figures. Well may such a grand
conception be called the "Art-work of the Future."

Wagner for a long time despaired of the visible execution of his
ideas. At last the celebrated pianist Tausig suggested an appeal to the
admirers of the new music throughout the world