back his long curls, and looking over the heads of the
musicians like a little general; then stoutly waving his baton, and
firmly and quietly conducting his piece to the end, meanwhile noting
and listening to every little detail as it passed.'

The performance of these operettas was not accompanied by action, the
rule being for some one to read the dialogue at the piano, whilst the
chorus were seated round the dining-table. It must not be supposed
that Felix's compositions monopolised the entire time of the
orchestra; though it rarely happened that the weekly concert failed to
include one or more of his productions. At some of the performances
all four children took part--Fanny taking the pianoforte when Felix
conducted at the desk, Rebekka singing, and Paul playing the 'cello.
Zelter, who was generally averse to praising any of his pupils, and,
indeed, was regarded as a very grumpy personage, was a regular
attendant at these performances, and never failed at the finish to
speak a few words of praise or criticism. The old musician was
secretly very proud of his pupil, and despite his habitual roughness
of manner, Felix had a sincere affection for his master, as well as a
deep respect for his judgment.

Felix was by this time composing a great deal, and, though little more
than twelve years old, work of a more serious kind than the writing of
operettas had been claiming his attention. To such a degree, in fact,
had the flow of ideas and the facility of giving them expression
developed, that within the space of a twelve-month from the completion
of his twelfth year he had composed between fifty and sixty pieces,
including a trio for pianoforte and strings, containing three
movements (an ambitious work for a child!), several sonatas for the
pianoforte, some little songs, and a comedy piece in three scenes for
pianoforte and voices. Now, too, he began to collect his writings into
volumes, each piece being written out with the greatest care and in
the neatest of hands, with the date at which it was written, and any
other note which might serve to identify the work or to show how it
came to be written. Nor was this care and neatness confined to his
compositions. It soon showed itself in regard to everything which he
undertook--his letters, memoranda, sketches, and so forth--and the
strangest part of it all is that the more he wrote and the harder he
worked, the more clearly this habit of orderliness and accuracy
exhibited