copy of a Leipsic paper, which bears the date of 1803, yet survives the destruction awarded to all old newspapers, simply because it mentions the youthful prodigy—then nine years old—as one of the best pianists of his native city.
One of those charming old musical enthusiasts who nowadays are met with only in Germany—and but seldom there—about this time visited Berlin. He heard little Jacob play, and at once predicted that the boy would "one day become one of the glories of Europe," To take lessons in the theory of music was the advice of this old enthusiast, the Abbé Vogler.
So the lad was transferred from the tuition of Lanska to that of Bernard Anselm Weber, a former pupil of old Vogler, and at that time director of the orchestra at the Berlin opera; and from this master the boy learned the art of instrumentation and harmony, to a certain degree at least. Weber was very fond of his pupil, and sent one of his fugues to Vogler, to show the old man that he was not the only one able to turn out accomplished scholars. Two months passed without any answer, and Weber attributed the silence to jealousy, until, one day, a large roll arrived at his house. It contained a complete "Treatise on the Fugue," written entirely by the hand of the old master, and containing also a critical analysis of little Jacob's work, exposing its errors, adding example to precept, by contrasting with it a fugue written by the Abbé on the same theme, and also subjecting the two compositions to a severe and logical criticism, which only proved the superiority of the masterly hand over the inexperienced.
Little Jacob was less mortified by this incident than was his poor teacher, Weber. He took the manuscript, and, after a faithful study of its contents, wrote another eight-part fugue, which he sent himself to Vogler. The result was precisely as he desired: he became a pupil of the old musician.
Among the central towns of Germany, few are more pleasing, and, perhaps, none at all more utterly neglected, than Darmstadt. The capital of a duchy, it contains a harmless, quiet little court, to which are attached a court-church and a court-theatre, alternately attracting the attention of the courtiers. The palace is a quaint old affair, on one side as precise and finished as a modern Italian villa, but taking its revenge by indulging on the opposite side in a series of wild irregularities as incomprehensible as they are picturesque,—old towers, romantic gateways, broken battlements, running ivies, and gay, green foliage, uniting, in charming confusion, to form the most pleasing picture in the dear, lazy old town.
A year or two ago, the quiet, neglected little Darmstadt came temporarily to the surface, and was seen of men. The Princess Alice of England married the heir to the Duchy, and the event aroused (in England especially) a natural curiosity as to the young lady's future home,—a curiosity which has since quite died away. Darmstadt, about twenty years ago, was also somewhat talked of in a distant Northern land; for from the dull old Ducal palace went forth a pretty, delicate-looking girl, who is now the wife of Alexander II, and the Empress of all the Russias.
In the Darmstadt picture-gallery is an old painting of the city as it was just one century ago,—in 1764. It was a very little and a very shabby city then. People dressed in the most ridiculous of costumes, and the picture shows His Serene Highness, arrayed in scarlet and yellow, getting out of a very clumsy, gilded carriage, amid the adulation of bowing and wigged courtiers. When Meyerbeer was there, however, Darmstadt was much as it is to-day,—a city so quiet that you might almost pitch your tent in the middle of the principal street, and sleep undisturbed for a week at least.
The Abbé Vogler was organist of the cathedral, an ugly, clumsy old building, darkened by wide wooden galleries. Meyerbeer was a Jew, but his parents were liberal enough to send him to the fireside of a Christian, and the boy be-
