ad formerly existed between the Prince and his Capellmeister. The
opportunity which Bach sought came at length when, in 1723, he was
appointed cantor of the Thomas-Schule at Leipzig, and director of the
music in the Churches of St. Thomas and St. Nicholas in the town.

With this appointment Bach entered upon the final stage of his career,
for he retained the Leipzig post until his death. The story of his
connection with the Thomas-Schule is one that redounds to his honour,
for, in spite of considerable opposition at the hands of the
authorities, who failed to appreciate his genius and hampered his
activity by petty restrictions and accusations; in spite, also, of the
poverty of the material with which he was called upon to deal, he
laboured unceasingly to raise the standard of efficiency in the
scholars whose training was committed to his charge, and from whose
ranks the choirs in the two churches under his control had to be
furnished. Apart from his duties, however, those twenty-seven years of
Leipzig work and intercourse are marked out for us as comprising the
period during which he wrote and dedicated to the service of the
Church those masterpieces of undying beauty--the Passions according to
St. Matthew[2] and St. John. In these works, and in the 'High Mass in
B Minor,' which also belongs to this time, but more especially in the
first-named work, we seem to witness the crowning-point of those
generations of striving for the advancement of the art which have
indissolubly linked the name of Bach with the history of music. Bach
himself stood on the top step of the ladder: with him the vital
forces of the race exhausted themselves; and further power of
development stopped short.'

The life at Leipzig was distinguished by the simplicity which had
always been Bach's chief characteristic. That he was imbued by deeply
religious feelings is evidenced by the works to which we have just
referred; his genius, in fact, found its highest and noblest
expression in the interpretation of the spirit of the sacred writings.
Next to his art--if, indeed, they can be considered apart--came his
devotion to his family, in the training and welfare of whom he took an
absorbing interest. Outside these twin centres of attraction he hardly
ever ventured, and though his fame brought him notice, and to some
extent honour as well, his desire for retirement became stronger as
the years went on.

His modest, retiring disposition is well illustrat