As the majority of organs are not made on the last named principle they must be classed among the imperfect instruments. At the same time, it is believed that general opinion unites in ascribing to the organ the first place among instruments. It is capable of prolonging sounds, of producing multiplied chords, of modulating and swelling its tones at the option of the performer, of suppressing or expanding its volume, and, in a word, of doing every thing which any other instrument can perform, except of gliding from one note to another. There are now extant several specimens of the style of music in use among the monks of the earlier Christian ages. These examples are very curious, and, to the casual observer, extremely interesting. The airs are written on four lines, and are marked with treble and bass clefs, but they would appear to have been intended almost entirely for the use of singers. Instrumental music of that period is much more rare and uncommon. The compositions alluded to are very feeble, and evince an ignorance of the extent to which musical sounds might be made available. They are merely loose themes without any attempt whatever at artistic effect. As time wore on, the writing on five lines instead of on four became universally adopted in Europe, and the style of composition gradually improved. The English nation have never been remarkable for musical genius. As late in their history as the accession of the house of Hanover, the greater part of their music came from abroad. Nor were there any great instrumental performers among them. It is only of comparatively late years that any thing like a talent for composition has sprung up among them, and even now they are so far behind most other nations in the art, as to hold a very insignificant position in the musical world. While the music of all other countries has in it something distinctively and peculiarly characteristic, English melodies (if we except their glees and madrigals) have none. The late operas which have been brought out in London, betray an attempt at servile imitation of the Italian school; but the English have not a writer at the present day whose compositions manifest the slightest originality: and with the exception of Dr. Arne, Cabott, Bishop, Rolf, Rooke, and one or two others, their musical works are devoid of conception, character, or beauty. At the same time it must be admitted that there is nothing finer in the world than the English glees and madrigals. These possess a truly definitive character. They are really English, and bear about the same relation to the smooth strains of Italy and Germany, as the bluff, straight-forward yeoman does to the French exquisite. They are at once original, heart-stirring, and amusing. Many of the madrigals exhibit a great amount of artistic skill and musical acquirement, and, when well executed, they are extremely entertaining. Some of the English anthems are also very excellent, but