print. Loomis'
literary culture is shown in the sure taste of his selection of lyrics
for his music. He has marked aptitudes, too, in creative literature,
and has an excellent idea of the arts kindred to his own, particularly
architecture.

Like Chopin, Loomis is largely occupied in mixing rich new colors on
the inexhaustible palette of the piano. Like Chopin, he is not
especially called to the orchestra. What the future may hold for him
in this field (by no means so indispensable to classic repute as
certain pedants assume) it is impossible to say. In the meantime he is
giving most of his time to work in larger forms.

If in his restless hunt for novelty, always novelty, he grows too
original, too unconventional, this sin is unusual enough to approach
the estate of a virtue. But his oddity is not mere sensation-mongering.
It is his individuality. He could make the same reply to such
criticism that Schumann made; he thinks in strange rhythms and hunts
curious effects, because his tastes are irrevocably so ordained.

But we ought to show a new genius the same generosity toward flaws
that we extend toward the masters whose fame is won beyond the
patronage of our petty forgiveness. And, all in all, I am impelled to
prophesy to Loomis a place very high among the inspired makers of new
music. His harmonies, so indefatigably searched out and polished to
splendor, so potent in enlarging the color-scale of the piano; his
patient building up, through long neglect and through long silence, of
a monumental group of works and of a distinct individuality, must
prove at some late day a source of lasting pride to his country,
neglectful now in spite of itself. But better than his patience, than
his courage, than his sincerity, better than that insufficient
definition of genius,--the capacity for taking infinite pains,--is his
inspired felicity. His genius is the very essence of felicity.

_Ethelbert Nevin._

[Illustration: ETHELBERT NEVIN.]

It is refreshing to be able to chronicle the achievements of a
composer who has become financially successful without destroying his
claim on the respect of the learned and severe, or sacrificing his own
artistic conscience and individuality. Such a composer is Ethelbert
Nevin.

His published writings have been altogether along the smaller lines of
composition, and he has won an enviable place as a fervent worker in
diamonds. None of his gems are paste, and a few have a perfection, a