Son of Georg Christoph (12)—
23. Joh. Valentin of Schweinfurt (d. 1720).
Sons of Joh. Ambrosius (13)—
24. Joh. Christoph of Ohrdruf (d. 1721).
25. Joh. Jakob of Stockholm (d. 1722).
26. Joh. Sebastian of Leipsic (d. 1750).
Son of Joh. Christoph (14)—
27. Joh. Ernst of Arnstadt (d. l739)
Sons of Joh. Christoph (15)—
28. Joh. Nikolaus of Jena (d. 1753)
29. Joh. Christoph of Erfurt and England.
30. Joh. Friedrich of Mühlhausen.
31. Joh. Michael.
Sons of Jakob (18)—
32. Joh. Ludwig of Meiningen (d. 1741).
33. Nikolaus Ephraim of Gandersheim.
34. Georg Michael (d. 1771).
VII. Son of Joh. Bernhard (21)—
35. Joh. Ernst of Weimar (d. l777)
Sons of Joh. Valentin (23)—
36. Joh. Lorenz of Lahm (d. 1773).
37. Joh. Elias of Schweinfurt (d. 1755).
Sons of Joh. Christoph (24)—
38. Tobias Friedrich of Uttstädt.
39. Joh. Bernhard of Ohrdruf (d. 1744).
40. Joh. Christoph of Ohrdruf.
41. Joh. Heinrich of Oehringen.
42. Joh. Andreas.
Sons of Joh. Sebastian (26)—
43. Wilhelm Friedemann of Halle (d. 1784).
44. Karl Philipp Emanuel of Berlin and Hamburg (d. 1788).
45. Joh. Gottfried Bernhard of Mühlhausen (d. 1739).
46. Joh. Christoph Friedrich of Buckeburg (d. 1795).
47. Joh. Christian of Milan and London (d. 1782).
Sons of Joh. Ludwig (32)—
48. Samuel Anton of Meiningen (d. 1781).
49. Gottlieb Friedrich of Meiningen (d. 1785).
Son of Georg Michael (34)—
50. Joh. Christian of Halle (d. 1814).
VIII. Son of Joh. Chr. Friedrich (46)—
51. Wilhelm of Berlin (d. 1846).
Son of Joh. Christian (50)—
52. Joh. Philipp of Meiningen (d. 1846).
Of the 15-20 names belonging to the 17th century the greatest were
the two sons of Heinrich [7]:—
Johann Christoph Bach [15] (d. 1703) was born at Arnstadt in 1642 and most carefully trained by his father (who was organist there for over 50 years). From 1665 he was for 38 years town-organist at Eisenach. He was probably the most original of the motettists of the time, as well as one of the ablest organists, having an unusual instinct for form and great facility in handling many voices and in organ extemporization. He was not in sympathy with the prevalent dramatic styles, though one of his motets for double chorus and orchestra belongs remotely to the oratorio class. He was simple, earnest and painstaking, and won universal respect as man and artist. He educated his
