end, Franz Kroll,
from Weimar in 1845, Liszt speaks thus of Ernst:

"Ernst has just been spending a week here, during which he has played
some hundred rubbers of whist at the 'Erbprinz.' His is a noble,
sweet, and delicate nature, and more than once during his stay I have
caught myself regretting _you_ for him, and regretting _him_ for you.
Last Monday he was good enough to play, in his usual and admirable
manner, at the concert for the Orchestral Pension Fund. The pieces he
had selected were his new 'Concerto Pathetique' (in F sharp minor) and
an extremely piquant and brilliant 'Caprice on Hungarian Melodies.'
(This latter piece is dedicated to me.) The public was in a good
humour, even really warm, which is usually one of its least faults."

The following epistle, written by Liszt to Ernst, and dated at Weimar,
May 30, 1849, is of special interest because of its references to
Wagner.

"DEAR FRIEND:--Weimar has not forgotten you, and I hope soon to be
able, after the return of the hereditary prince, whom we expect for the
day of his _fete_, by the 24th of May at the very latest, to forward to
you the token of the distinguished remembrance in which you are held.
It pleases me to think that it will be agreeable to you, and that it
will tend to attach you more in the sequel to people worthy to
appreciate you.

"I should have desired to tell you sooner of this, but the inevitable
delays in present circumstances postpone more than one wish.

"After the deplorable days in Dresden Wagner came here, and only
departed again in order to escape from a warrant (_lettre de cachet_)
with which the Saxon government is pursuing him. I hope that at the
present moment he will have arrived safe and well in Paris, where his
career of dramatic composer cannot fail to be extended, and in grand
proportions. He is a man of evident genius, who must of necessity
obtrude himself on the general admiration, and hold a high place in
contemporary art. I regret that you have not had the opportunity of
hearing his 'Tannhaeuser,' which is for me the most lyric of dramas, the
most remarkable, the most harmonious, the most complete, the most
original and _selbstwuerdig_ (the most worthy of his country), both in
foundation and form, that Germany has produced since Weber. Belloni
has, I believe, written to you on the subject of Wagner, to ask for
information as to the actual state of the English opera in London.

"I make no doubt that if it