Thy royal faith that knows no change of days."

Of the latter there was to be no lack, although it was put to a severe
test, and thus the artist reached at last the goal of his effort,
referred to above, where he stands to-day, the artistic savior of his
nation and his time.

As the main thing, the completion of the Nibelungen-Ring was taken in
hand. In the meantime, however, a model exhibition of the new
art-style was to be given, with "Tristan." For this purpose Schnorr
was invited, at that time residing in Dresden. Wagner says, when he
first met him at Carlsruhe, in 1862: "While the sight of the
swan-knight, approaching in his little boat, gave me the somewhat odd
impression of the appearance of a young Hercules (Schnorr suffered
from obesity), yet his manner at once conveyed to me the distinct
charm of the mythical hero sent by the gods, whose identity we do not
study but whom we instinctively recognize. This instantaneous effect
which touches the inmost heart, can only be compared to magic. I
remember to have been similarly impressed in early youth by the great
actress, Schroeder-Devrient, which shaped the course of my life, and
since then not again so strongly as by Schnorr in Lohengrin." He had
found in him a genuine singer, musician, and actor, possessing above
all unbounded capacity for tragic roles.

He was put to the test at first in "Tannhaeuser," and in this new
role he also produced an entirely new impression, of which the Munich
public, led by Franz Lachner, in the worn-out tracks of the latter-day
classics, had its first experience. Then followed the rehearsals for
"Tristan," which Schnorr had already fully mastered, with the
exception of a single passage, "Out of Laughter and Weeping, Joys and
Wounds," the terrible love-curse in the third act. By his wonderful
power of expression, the master had "made this clear to him." At the
rehearsal of this act, Wagner staggered to his feet, profoundly moved,
and embracing his wonderful friend, said softly that he could not
express his joy over his now realized ideal, and Schnorr's dark eye
flashed responsive pleasure. Buelow, who, as concert-master to the
king, now resided in Munich, likewise conducted with wonderful
precision the orchestra which Wagner himself had thoroughly rehearsed,
and so the invitation was issued to this "art-festival" wherever
Wagner's art had conquered hearts. It was to show how far the problem
of original and genuine musico-dramatic a