t arranger of music for the guitar, and,
besides, composed some fine pieces for it. I do not know that any of
his works were ever published: I think they were not; they being
prepared simply to facilitate the progress of his pupils, and for his
own amusement.

It is said that on one occasion a prominent guitarist,--a teacher of
and writer for the guitar,--when asked to give his opinion of one of
Demarest's compositions, remarked that it was "too difficult for the
guitar." However this may have been, no one could say that it was too
difficult for the composer to perform; and, that being true, it ought
not to have been considered as beyond the possible reach of other
skilful players. Still the critic referred to may only have meant by
his remark that the piece was too difficult to become "popular." I
only mention the incident to show that Demarest always aimed high.

As a teacher of the guitar he took high rank with those who believed
in advancing its performance to the most elevated standards. He found
but few pupils, however, that were willing to give the instrument that
closeness of study, or who were possessed with that spirit of
patience, so necessary to render them remarkable performers. At the
almost marvellously skilful manipulations of the strings by their
teacher, they listened with the utmost delight; but some of them,
regarding him as one exceptionally endowed, despaired of ever being
able to follow him into those higher and fuller forms of
guitar-playing whither he ever earnestly strove to lead them. He
always insisted on a conscientious study of the instrument, and the
practice of only the best music, in order that his pupils might place
themselves on a much higher level than that occupied by the many who
contented themselves with merely "thumping" a simple, unvaried
accompaniment to the popular love-songs of the day.

Mr. Demarest was also a violinist of fair ability. In his performances
on the violin he evinced the same scholarly spirit as he did in his
other studies. He, however, but seldom performed upon the violin in
public, and but little in private, save for his own diversion. In
1874, while still a young man, bidding fair to rise to the highest
distinction as a musician, he died, deeply regretted by many, not more
on account of his high musical than his gentlemanly, genial qualities.

"Sweet Mercy! to the gates of heaven
This minstrel lead, his sins forgiven."

XI.

THOMAS GRE