The last movement, "The Return and Feast of the Lanterns," is on the sonata formula. After an introduction typifying the opening of the temple gates (a gong giving the music further locale), the first theme is announced by harp and mandolin. It is an ancient Chinese air for the yong-kim (a dulcimer-like instrument). The second subject is adapted from the serenade theme. With these two smuggled themes everything contrapuntal (a fugue included) and instrumental is done that technical bravado could suggest or true art license. The result is a carnival of technic that compels the layman to wonder and the scholar to homage. A transcription for a piano duet has been made of this last movement. In Chinese-tone also is Kelley's most popular song, "The Lady Picking Mulberries," which brought him not only the enthusiasm of Americans but the high commendation of the Chinese themselves. It is written in the limited Chinese scale, with harmonies of our school; and is a humoresque of such catchiness that it has pervaded even London and Paris. This song is one of a series of six lyrics called "The Phases of Love," with this motive from the "Anatomy of Melancholy": "I am resolved, therefore, in this tragi-comedy of love, to act several parts, some satirically, some comically, some in a mixed tone." The poems are all by American poets, and the group, opus 6, is an invaluable addition to our musical literature. The first of the series, "My Silent Song," is a radiantly beautiful work, with a wondrous tender air to a rapturous accompaniment. The second is a setting of Edward Rowland Sill's perfect little poem, "Love's Fillet." The song is as full of art as it is of feeling and influence. "What the Man in the Moon Saw" is an engaging satire, "Love and Sleep" is sombre, and "In a Garden" is pathetic. Besides two small sketches, a waltz and a gavotte, and his own arrangements, for two and for four hands, of the Gaelic March in "Macbeth," Kelley has published only three piano pieces: opus 2, "The Flower Seekers," superb with grace, warm harmony, and May ecstasies; "Confluentia," whose threads of liquidity are eruditely, yet romantically, intertangled to represent the confluence of the Rhine and the Moselle; and "The Headless Horseman," a masterpiece of burlesque weirdness, representing the wild pursuit of Ichabod Crane and the final hurling of the awful head,--a pumpkin, some say. It is relieved by Ichabod's tender reminiscences of Katrina Van Tassel at the spinning-wheel, and is dedicated to Joseffy, the pianist, who lives in the region about Sleepy Hollow. To supplement his successful, humorously melodramatic setting of "The Little Old Woman who Went to the Market her Eggs for to Sell," Kelley is preparing a series of similar pieces called "Tales Retold for Musical Children." It will include "Gulliver," "Aladdin," and "Beauty and the Beast."