which is full of such good thought as we in our power may understand.
It is to supply us with just this that the lesser masters write. In
simple, yet clear and beautiful pictures, they tell us many and many a
secret of the world of tone into which we shall some day be welcomed
by the greater ones if we are faithful unto the lesser.




CHAPTER XIV.

HARMONY AND COUNTERPOINT.


"Whilst I was in Florence, I did my utmost to learn the exquisite
manner of Michaelangelo, and never once lost sight of
it."--_Benvenuto Cellini._[43]

On any important music subject Schumann has something to say. So with
this:

"Learn betimes the fundamental principles of harmony." "Do not be
afraid of the words theory, thorough-bass, and the like, they will
meet you as friends if you will meet them so."

We now begin to feel how definitely these rules treat everything. They
pick out the important subjects and tell the simplest truth about
them. The meaning of these two rules is this: From the beginning we
must try to understand the grammar of music. Some of the great
composers could in childhood write down music with the greatest