The glee, although less serious in character, as its name implies, was a truly artistic type of concerted music, and there are numerous specimens of early date of great beauty and contrapuntal skill, but they are characterised by comparative simplicity. The transition from one to the other would seem natural, seeing the extreme elaboration that rendered the madrigal difficult of interpretation to any but highly-skilled singers. The beautiful "Since First I Saw your Face," by Thomas Ford, can hardly be described by either title, for while it is removed in tone from the glee it lacks the atmosphere of the schools that the madrigal suggests. The glee, as it is popularly known to-day, is of a later date, and came to perfection about the middle of the eighteenth century. It is a remarkable fact that perhaps the most beautiful and certainly one of the most skilfully written specimens of medi[ae]val music, is also one of the most ancient. The date of it must be purely conjectural, although the scholar may to some extent be guided by the words as to the actual century of its origin. The opening words, "Sumer is icumen in," are probably familiar to most readers, since they are ever in evidence when the question of old English music is under consideration. Indeed, it would take many volumes to record what has been written about this extraordinary composition. From whatever point of view it is judged it commands admiration and wonder. It demonstrates that in the art of music England was then not only abreast of foreign nations, but probably in advance of them. It shows that polyphonic writing must have reached to a high point of development even so far back as the thirteenth century, and there is every reason to believe, even long before then. It seems to me to be only a very obvious deduction. Just as there must have been many great poets before Homer, so this work must be the fortunate survivor of a long-lost school that, unhappily for us, had no enduring medium for transmission of its genius to later ages. It exhibits, apart from the skill that characterised ancient ecclesiastical music, from which it indubitably sprang, a rare genius in interpreting the spirit and feeling of the words. In this respect it may be said to have anticipated centuries to come. With every appreciation, sincere and even reverend, of the ancient music of the Church, it must be acknowledged that in spirit it was rigid, severe and formal. In other words, it appealed to the religious and intellectual sense rather than that of beauty. "Sumer is icumen in," on the contrary, seems to be the work of one who is able to leap over the centuries and speak in the tones of ages unborn, to be, in fact, a forerunner, a teacher of the ages then in the womb of Time.