So one reminiscence produces an ever-widening ripple of reminiscences. Those which circle about the recollection of Thackeray in this country are very many, but generally unrecorded. They linger, and appear occasionally in allusions like those of Lester Wallack. But whenever they are told they pay homage to the humorist. They recall his constant, sturdy, kindly simplicity and kindliness. Wallack speaks of a certain boyish or boy-like quality in Thackeray. It was certainly there. He had the utmost sympathy with boys, and one of his gay caricatures of himself represents him at a Christmas pantomime standing with two boys behind the rest of the audience, he towering aloft and seeing everything over other people's heads, while his poor little comrades, far down about his knees, ruefully see nothing. But you know that if no other seat could be found, the good giant would soon have them upon his shoulders, and all would be boyishly happy together. "They think I am a grinning surgeon with a scalpel," said the tender-hearted man. But those who have not found and felt the heart are yet to learn to know Thackeray. CECILIA PLAYING. As the great musical artists, especially the pianists, arrive one after the other, and lead the town captive, one asks, not whether there be any limit to the number, but to the skill. Last year there was the prodigy, the phenomenon, the boy Hofmann, and all the superlatives were spent in his praise. This year it is Rosenthal--valley of roses--and sweet as their attar is his spell. "Well, what is he?" "Simply miraculous; never was there anything like him." "But Rubinstein?" "Yes, a great genius, but he himself said that at every concert he dropped notes enough to furnish two concerts." "Then it is skill only, _technique_?" "Not at all; it is perfection of feeling, conception, touch, everything. Perhaps not the greatest of composers. But for playing--ah!" Rapture is one kind of criticism. Perhaps in music, the effect of which is emotional, rapture, if you know the person, is the best criticism. The artist who can kindle to the utmost enthusiasm of delight a musically sensitive person who is also an exquisitely skilful player, and whom mere marvels of execution do not affect beyond reason, may be accepted as a very remarkable artist. Temperament also counts for much in estimating musicians. Natures are sympathetic. A silent, separate chord vibrates in response to a thrill of sound which leaves other things unmoved. The heart of the young man speaks to the psalmist, but the old man's may be dull and unawakened. The homoeopathic formula, like cures like, may be adapted to musical criticism at least so far as to say that like touches like.