The successor of Sterndale Bennett as principal of the Royal Academy of Music was Sir George A. Macfarren (1813-1887), who although totally blind for many years before his death, produced a greater number of important compositions than any other English composer of the century. He was educated in London, and in 1834 became one of the professors in the Royal Academy of Music. His first opera was produced in 1838, "Devil's Opera," "Don Quixote" (1836), "Jessy Lea" (1863) and "Helvellyn" (1864). He wrote a number of cantatas for chorus and orchestra, oratorios, "St. John the Baptist" (1873), "The Resurrection" (1876), "Joseph" (1877), and other works of less importance. There are also many anthems, several overtures and other pieces for chamber. Personally he was kind-hearted, intelligent, helpful and public spirited. The amount of work that he accomplished under the greatest of disadvantages is wonderful, as well as its generally superior quality. As a lecturer and teacher he was the foremost musical Englishman of his time. His compositions are strong and respectable, but not especially inspired. The successor of Sir Geo. Macfarren in the principalship of the Royal Academy of Music was Alexander Campbell Mackenzie (1847- ), the youngest eminent English composer, but also the most successful and promising. He was educated as a violinist, and resided at Edinburgh as a teacher of the pianoforte and violin until his compositions attracted the attention of his countrymen and induced his being called to London. The most important compositions of Dr. Mackenzie up to the present time are the operas "Colomba" (1883), "The Troubadour" (1886) and the oratorio "The Rose of Sharon" (1884). There are several cantatas, "Jason," "The Bride," "The Story of Sayid" (1886) and a considerable number of orchestral pieces, of which two Scotch rhapsodies and the overture to "Twelfth Night" are the best known. He has also produced a violin concerto (played by Mr. Sarasate), and much chamber music and songs. On the whole, Dr. Mackenzie seems the most gifted English composer who has yet appeared. [Illustration] INDEX. "Abel", 351 "Abou Hassan", 408 Academie de Musique, 238 Adam, 491 Adam de la Halle, 122 AEschylus, 55 "Africaine", 414 "Agnes von Hohenstaufen", 479 "Aida", 485 "Alceste", 333 "Alcidor", 479 "Allgemeine Musikalische Zeitung", 464 Amati, 201 Ambrosian Scales, 131 Anglo-Saxon Harp, 104 Anglo-Saxons, Music among, 96 "Anna Bolena", 482 Antiquity, Music in, 23 Apprentice Periods of Music, 22 Arabs and Saracens, 109 "Arianna", 224 Aristophanes, 57 Aristotle, 58, 65 Aristoxenus, 58 Arkadelt, 165 Art, Conditions of Its Development, 18 Art Forms, Qualities of, 20 "Ascanio", 494 Assyrian Harps, 45 Assyrians, Music among, 46 Auber, 488 Aurelian, 139 Bach, 265, 468 Bach as Melodist, 272 Bach, Emanuel, 282 Banjo, Ancient, 46 Bar in Vocal Music, 186 Bardi, Count of, 221 Bards, 89 Barytone, 196 "Basilius", 242