facts, which have been stated, but which, so far as we can learn, have never received any denial or explanation. On one of these occasions we were present. We can bear testimony to the effect produced by much of the music then performed. Mr Hullah certainly appeared to possess great power over the numerous assembly, and the facility with which he hushed them almost down to silence, or made them raise their voices till there seemed no limits to their united power, was almost magical. But beyond this, in the words of an able weekly journalist, "no means of forming any opinions were before us--the whole affair might be a cheat and a delusion--we had no test by which to try it. We have hitherto," continues the writer, "spoken of these exhibitions at Exeter Hall as realities, as being what they were affirmed to be. This is no longer possible. If Mr Hullah has any real confidence in his 'system,' he will eagerly seek a real scrutiny into its merits; hitherto there has been none." Our own personal observation does not enable us to be very enthusiastic in the praise of the Wilhelm system. A few weeks only have elapsed, since we attended a meeting of a class, whose progress we had watched, from time to time, from its earliest infancy. This class had gone through the course of sixty lessons, but continued still to receive instruction. Their power of singing at sight was tested in our presence--a piece of music they had never seen before was placed in their hands. The first attempt to execute this at sight was lame, and halted terribly; the second was somewhat better, but as we moved about, from one pupil to another, to ascertain, as far as possible, the individual accuracy of the class, we heard many voices, in a subdued tone, making a number of admirable guesses at their part, but the owners of which could not, by the utmost courtesy, be considered to be singing at sight. The basses missed many a "distance," the tenors were interrupted by the master, and worked, in the defective passages, separately from the rest of the class for a while, _by ear_!! A third attempt was made with somewhat better success, and the piece was accomplished in a rambling uncertain manner. During the whole of this trial, the trebles were led by the master's apprentice, a sharp clever boy, who retained a voice of peculiar beauty and power to the unusually late age of sixteen, and who had commenced his musical studies six or eight years before. We considered this experiment a failure; it may be said the fault lay in the teacher, not in the method; true, the master was not Mr Hullah, but he was one of the "certificated," and the partisans of Mr Hullah, in the language of the lawyers, are _estopped_ from asserting his incompetency. We have known pupils, not deficient in general ability, who, having attended the greater part of "the course," during which they paid great attention to their studies, were unable to read more than a few bars of the simplest music, beyond which they were