of art, framed and displayed in their temples. And
new productions were to be judged by comparing them with these, and
when they contained different principles, they were upon that account
to be condemned and prohibited.

In farther evidence of the correspondence between the musical activity
in this direction, and the general movement of mind at this period,
including the shaking up of the dry bones in every part of the social
order, (the French revolution being the most extreme and drastic
illustration), we may observe that the composer through whom this
element entered into the art of music in its first free development
was Franz Schubert, who was born during the years when this
disturbance was at its height, namely, in 1797. Moreover, the manner
in which his inspiration to musical creation was received corresponded
exactly to the definition of the romantic given above; for it was
always through reading a poem or a story that these strange and
beautiful musical combinations occurred to him, many instances of
which are given in the sketch later. It is curious, furthermore, that
the general method of Schubert's musical thought is classical in its
repose, save where directly associated with a text of a
picture-building character, or of decided emotion. Thus, while it is
not possible to separate one part of the works of this composer from
another, and to say of the one that it belongs to an older
dispensation, while the other part represents a different principle
of art (both parts alike having the same general treatment of melody,
and the same refined and poetic atmosphere), it is, nevertheless, true
that if we had only the sonatas, chamber pieces, and the symphonies of
Schubert, no one would think of classing his works differently from
those of Mozart, as to their operative principles. But when we have
the songs, the five or six hundred of them, the operas and other vocal
works, in which music is so lovely in and of itself, yet at the same
time so descriptive, so loyal to the changing moods of the text, we
necessarily interpret the instrumental music in the same light,
especially when we know that there are no distinct periods in the
short life of this composer concerning which different principles can
be predicated.

Almost immediately after Schubert there come composers in whom the new
tendency is more marked. Mendelssohn entered the domain of the
romantic in 1826, with his overture to the "Midsummer Night's Dream,"