the abilities of Josef Hofmann. In 1898, he
met the pianist, who was then twenty-two years old. Of his musical
ability Bok could not judge, but he was much impressed by his unusual
mentality, and soon both learned and felt that Hofmann's art was deeply
and firmly rooted. Hofmann had a wider knowledge of affairs than other
musicians whom Bok had met; he had not narrowed his interests to his own
art. He was striving to achieve a position in his art, and, finding that
he had literary ability, Bok asked him to write a reminiscent article on
his famous master, Rubinstein.

This was followed by other articles; the publication of his new mazurka;
still further articles; and then, in 1907, Bok offered him a regular
department in the magazine and a salaried editorship on his staff.

Bok's musical friends and the music critics tried to convince the editor
that Hofmann's art lay not so deep as Bok imagined; that he had been a
child prodigy, and would end where all child prodigies invariably
end--opinions which make curious reading now in view of Hofmann's
commanding position in the world of music. But while Bok lacked musical
knowledge, his instinct led him to adhere to his belief in Hofmann; and
for twelve years, until Bok's retirement as editor, the pianist was a
regular contributor to the magazine. His success was, of course,
unquestioned. He answered hundreds of questions sent him by his readers,
and these answers furnished such valuable advice for piano students that
two volumes were made in book form and are to-day used by piano teachers
and students as authoritative guides.

Meanwhile, Bok's marriage had brought music directly into his domestic
circle. Mrs. Bok loved music, was a pianist herself, and sought to
acquaint her husband with what his former training had omitted. Hofmann
and Bok had become strong friends outside of the editorial relation, and
the pianist frequently visited the Bok home. But it was some time, even
with these influences surrounding him, before music began to play any
real part in Bok's own life.

He attended the opera occasionally; more or less under protest, because
of its length, and because his mind was too practical for the indirect
operatic form. He could not remain patient at a recital; the effort to
listen to one performer for an hour and a half was too severe a tax upon
his restless nature. The Philadelphia Orchestra gave a symphony concert
each Saturday evening, and Bok dreaded the comi