In Stanford's case I have often protested against the indiscriminate use of the epithet "academic." It seems to me that his compositions on Irish subjects require to be considered quite apart from all the rest. However deplorable may be that Brahmsian vein running through a great mass of his non-Irish music, he really does in his "Phaudrig," "Shamus," and Irish Symphony and in many of his Irish songs entirely escape from his common-room and give us open-air music. No doubt, as Mr. Fuller Maitland very justly points out, the humour of the Dogberry scenes in Stanford's latest opera is admirable. Those are the scenes in which the composer has followed the model of Verdi's "Falstaff" most closely. Elsewhere he has undertaken to be more original and has not prospered so well. The music of the love scenes is terrible. All that twisted, clever stuff can never have any but a chilling, afflicting, alienating effect on a soul in which any spark is left either of youthfulness or of sympathy with youth. Stanford's musical cleverness, exceeding that of any other mortal except Camille Saint-Saëns, has been his bane. His sense of humour, too, is perversely adjusted. In connection with any but an Irish subject it is always liable to mislead him, and I have little doubt that it is the humourist quite as much as the don in him which nowadays makes it impossible for him to treat a love-passage in any but a chilly, clever, allusive, intelligible-only-to-the-initiated style. He was a very different man in 1881 when his "Bower of Roses by Bendeemer's Stream" was first heard. Not that he has even now lost his faculty of lyrical tenderness altogether. If the sentiment be associated with an infant, or penetrated with a sense of the weird and uncanny, or intermingled with (Irish) patriotic feeling, he can still find the symbol, as his quite recent music to Moira O'Neill's "Songs from the Glens of Antrim" abundantly proves. But the note of warmth and simplicity proper to youthful romance he seems to have lost. A peculiar case among Stanford's compositions is represented by the Irish Symphony, concerning which Mr. Fuller Maitland has nothing to say. Here, notwithstanding the Irish subject, the gown shows through to some slight extent in one place, namely, the development section of the first movement. The conventional critic finds fault with the scherzo in the form of an Irish jig as unsymphonic, as it undoubtedly is. But there would be more sense in suggesting that the composer should have made up his mind to be thoroughly unsymphonic throughout the work, bringing his first movement into harmony with the fine sennachee's improvisation that stands second, the magnificent racy jig, and the buoyant finale. We should thus have had an Irish Rhapsody in four movements without any defect. Even now the one touch of the composer's evil genius that comes out in the first movement is too slight to spoil the work, which has