obliged). Under the Nazis, "Mendelssohn was presented as a dangerous 'accident' of music history, who played a decisive role in rendering German music in the 19th century 'degenerate'." The German Mendelssohn Scholarship for students at the Leipzig Conservatoire was discontinued in 1934 (and not revived until 1963). The monument dedicated to Mendelssohn erected in Leipzig in 1892 was removed by the Nazis in 1936. A replacement was erected in 2008. The bronze statue of Mendelssohn by Clemens Buscher outside the Düsseldorf Opera House was also removed and destroyed by the Nazis in 1936. A replacement was erected in 2012. Mendelssohn's grave remained unmolested during the Nazi years. Mendelssohn's reputation in Britain remained high throughout the 19th century. Prince Albert inscribed (in German) a libretto for the oratorio Elijah in 1847: "To the noble artist who, surrounded by the Baal-worship of false art, has been able, like a second Elijah, through genius and study, to remain true to the service of true art." In 1851 an adulatory novel by the teenaged Elizabeth Sara Sheppard was published, Charles Auchester. The book features as its leading character the "Chevalier Seraphel", an idealized portrait of Mendelssohn, and remained in print for nearly 80 years. In 1854 Queen Victoria requested that the Crystal Palace include a statue of Mendelssohn when it was rebuilt. Mendelssohn's "Wedding March" from A Midsummer Night's Dream was played at the wedding of Queen Victoria's daughter, Princess Victoria, The Princess Royal, to Crown Prince Frederick William of Prussia in 1858, and it remains popular at marriage ceremonies. Mendelssohn's pupil Sterndale Bennett was a major force in British musical education until his death in 1875, and a great upholder of his master's traditions; he numbered among his pupils many of the next generation of English composers, including Sullivan, Hubert Parry and Francis Edward Bache. By the early twentieth century, many critics, including Bernard Shaw, began to condemn Mendelssohn's music for its association with Victorian cultural insularity; Shaw in particular complained of the composer's "kid-glove gentility, his conventional sentimentality, and his despicable oratorio-mongering". In the 1950s the scholar Wilfrid Mellers complained of Mendelssohn's "spurious religiosity which reflected the element of unconscious humbug in our morality". A contrasting opinion came from the pianist and composer Ferruccio Busoni, who considered Mendelssohn "a master of undisputed greatness" and "an heir of Mozart". Busoni, like earlier virtuosi such as Anton Rubinstein and Charles-Valentin Alkan, regularly included Mendelssohn's