Our task is now completed. If it should prove to have been so far successfully accomplished as to suggest to our readers at all a true conception of the character and individuality of Brahms, to throw some additional light upon the spirit which dictated the composition of his works, our aim will have been achieved. It is as yet far too soon to attempt any surmise as to the exact ultimate place that he will occupy amongst the great ones of his art. Schumann's words, however, spoken rather more than half a century ago, which proclaimed Johannes as the prophet destined to give ideal presentment to the highest spirit of his time, have, even now, been surely proved true. Brahms stands immovable in his position as the representative of the musical thought of the ages as it has gradually developed through three hundred and fifty years from Palestrina's day to his own; and in his works dwells the high and beautiful spirit--the essential spirit of life--which, whilst it knows no compromise with truth, works out its appointed course in 'faith and hope and love, these three; and the greatest of them is love.'

[84] Reimann, p. 109.

[85] _July 1, 1897._

[86] See for an account of Herzogenberg's church music 'Heinrich von Herzogenberg und die evangelischen Kirchenmusik,' by Friedrich Spitta.

Reprint from the _Monatschrift fur Gottesdienst und kirchliche Kunst_, 1900, No. 11.

[87] Preface to the 'Vollstandige Sammlung der von Johannes Brahms componirten und musikalisch bearbeiteten Dichtungen,' by Dr. G. Ophuls.

[88] 'Der musikalische Nachlass von Johannes Brahms,' by Ludwig Karpath.

_Signale_, March 26, 1902.

[89] In the author's possession.

[90] First published by Reimann, p. 118.

[91] Reimann, p. 118.

[92] See 'Am Sterbebett Brahms,' by Celestine Truxa, _Neue Freie Presse_, May 7, 1903.