the wild torrent of words; they took him to bed, and a profound sleep of twelve hours restored him to his normal state". Such fits may be related to his early death. Mendelssohn was an enthusiastic visual artist who worked in pencil and watercolour, a skill which he enjoyed throughout his life. His correspondences indicate that he could write with considerable wit in German and English – these letters are sometimes accompanied by humorous sketches and cartoons. Religion On 21 March 1816, at the age of seven years, Mendelssohn was baptised with his brother and sisters in a home ceremony by Johann Jakob Stegemann, minister of the Evangelical congregation of Berlin's Jerusalem Church and New Church. Although Mendelssohn was a conforming Christian as a member of the Reformed Church, he was both conscious and proud of his Jewish ancestry and notably of his connection with his grandfather, Moses Mendelssohn. He was the prime mover in proposing to the publisher Heinrich Brockhaus a complete edition of Moses's works, which continued with the support of his uncle, Joseph Mendelssohn. Felix was notably reluctant, either in his letters or conversation, to comment on his innermost beliefs; his friend Devrient wrote that "[his] deep convictions were never uttered in intercourse with the world; only in rare and intimate moments did they ever appear, and then only in the slightest and most humorous allusions". Thus for example in a letter to his sister Rebecka, Mendelssohn rebukes her complaint about an unpleasant relative: "What do you mean by saying you are not hostile to Jews? I hope this was a joke [...] It is really sweet of you that you do not despise your family, isn't it?" Some modern scholars have devoted considerable energy to demonstrate either that Mendelssohn was deeply sympathetic to his ancestors' Jewish beliefs, or that he was hostile to this and sincere in his Christian beliefs. Mendelssohn and his contemporaries Throughout his life Mendelssohn was wary of the more radical musical developments undertaken by some of his contemporaries. He was generally on friendly, if sometimes somewhat cool, terms with Hector Berlioz, Franz Liszt, and Giacomo Meyerbeer, but in his letters expresses his frank disapproval of their works, for example writing of Liszt that his compositions were "inferior to his playing, and […] only calculated for virtuosos"; of Berlioz's overture Les francs-juges "[T]he orchestration is such a frightful muddle [...] that one ought