The grandchildren asked her to play the piano.

She played Schumann. “Now some Beethoven” called Cecil, when the querulous beauty of the music had died. She shook her head and played Schumann again. The melody rose, unprofitably magical. It broke; it was resumed broken, not marching once from the cradle to the grave. The sadness of the incomplete—the sadness that is often Life, but should never be Art—throbbed in its disjected phrases, and made the nerves of the audience throb. Not thus had she played on the little draped piano at the Bertolini, and “Too much Schumann” was not the remark that Mr. Beebe had passed to himself when she returned.