ed to reveal a theme to him, upon which
he tried to complete a set of variations. At times he would work calmly
and sensibly, but one day, in a fit of mental anguish, he left his
house, alone, and threw himself into the Rhine. Rescued by some boatmen,
he went home to experience a few more lucid periods, but insanity
gradually mastered him. His last two years were spent in a private
asylum near Bonn, where he died July 29, 1846. His wife, who had been on
a tour in London, returned just in time to witness his end. He was
buried in Bonn, near the tombs of Beethoven and Schubert.

As widow, Clara Schumann continued faithfully the work of her married
life. Her many tours were still a means of performing her husband's
music, and she was able to know that her life-work was successful in
Germany at least. Soon after his death, the name of Schumann became
immortal, and the very peculiarities of his work were recognized as
essentially national in character. His widow found a home with her
mother in Berlin, where she stayed for four years, and whither she
returned after twelve years in Baden-Baden. In 1878 she became chief
teacher of piano in the school founded by Doctor Hoch at Frankfort, and
there for ten years she lived and worked with the most complete success.
In 1892 she retired from her labours, and on May 19, 1896, her long life
of usefulness came to a quiet end. Five days later she was laid at rest
with her husband in the peaceful little cemetery at Bonn.

In private life, as well as in public performance, her personality
remained one of earnest simplicity and nobility of thought. She was
admired and loved by all who knew her, and when failing health compelled
her to give up her teaching, their affection showed itself in the
substantial form of a large subscription.

Her compositions, according to the foremost critics, are not numerous,
but show the sincerity of purpose that marks all her work. Even her
earliest pieces, chiefly short dance forms for piano, are redeemed from
triviality by interesting rhythms and fresh, almost abrupt, modulations.
They are mostly delicate rather than forceful, with frequent ornaments
and staccato passages that require a light and skilful touch. Among her
later and more serious works, the G minor trio is musicianly and
interesting; the three cadences to Beethoven concertos are charming
examples of their kind, and the preludes and fugues (Op. 16) form an
excellent legato study, and are emin