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he succeeded Hiller as conductor of a male chorus and later of a small mixed chorus, writing somewhat for both. In 1850 he was made director at Dusseldorf, again in succession to Hiller. Though he and his wife were received with enthusiasm and he began his work with high hope, his strength was unequal to the task and his methods were so ineffective that late in 1853 he was virtually displaced. He continued active, however, in composition in various forms, and made some artistic trips with his wife. Thus, for example, they were twice welcomed with acclaim in Holland, and in March, 1852, a cycle of his works was given in Leipsic. But from about 1852 he was increasingly subject to attacks of extreme mental depression, combined with startling vagaries of fancy and auditory illusions. Early in 1854, at Dusseldorf, he one day stole away from his home and threw himself into the Rhine, but was rescued by some boatmen. It was now clear that his mind had permanently given way, and he was cared for in a private asylum at Endenich (near Bonn) until his death in 1856. He was buried at Bonn, where in 1880 a statue was erected in his honor.

His sincere and kindly nature revealed itself in his frank and noble face. Though usually extremely silent, especially with strangers, he was keenly observant and almost clairvoyant in his estimation of character. At home and among his few intimates he was often bright and witty. Every one felt the guileless exaltation of his personality and the vigorous independence of his intellect. He was respected even where he was but partially understood. In writing he expressed himself with wonderful freedom and force, as his many letters and critical works show. This literary gift, joined with his fertility as a composer, made him known far better than he could ever be through speech. He was greatly drawn to young people, especially if they had aspirations, and he detected the promise of artistic achievement with amazing accuracy and sympathy. He was entirely free from jealousy or envy, but had a proper sense of his own dignity and power. His family life with his devoted wife and his five children was in every way ideal.

191. His Work as Composer.—Schumann began his active musical career somewhat late and without thorough discipline. Hence, as his life was short and at the end broken by physical disability, his creative period was hardly more than fifteen years (1832-51, with breaks after 1844). Hence, too, he was obliged to make up defects in training by the most concentrated study. Only a mind of great endowments could have accomplished so much in this short time.

From the outset his style showed rare originality and fullness. He was often careless about exact form, seemed to be trying experiments with patterns, harmonies and styles, and was not always perfectly at home in the idioms of expression. Some of his works are over-crowded with matter and over-strenuous in treatment. His marked tempi and his other indications of ex