the attempt to imitate the German school is too apparent throughout. They are not the less agreeable on this account, but they lose the charm which would attach to originality. The English are, as a nation, fond of music, but their love for it seldom reaches the enthusiasm which is felt for the art by a German, an Italian, a Frenchman, or a Spaniard. It would, perhaps, be more correct to say that the English admire music rather than that they love it. The uneducated classes will gladly listen to music, but they are never moved by it. They may learn or become acquainted with certain airs, but they never impart to what they sing or whistle that elegance or depth of feeling which a really musical mind never fails to throw into an air which pleases him. The Scotch music, without possessing much claim to art, has a decidedly characteristic feature. It is unlike the compositions of any other country. Even their quickest airs have something peculiarly melancholy in their style, which is touching and agreeable. The principal feature in Scotch music is the frequent introduction of short, catching sounds before long notes. The Spanish style of music is pleasing but variable. The national fondness for dancing appears to exercise some influence over all their strains; notwithstanding which many of their airs have an extremely melancholy expression. As opera writers they have never excelled, but for love-songs and martial choruses, their style is equal to that of any other people in the world. Their serenades are among the sweetest efforts of simple composition in the world, containing, notwithstanding the plainness of their style, considerable feeling, and an obvious expression of deep passion.