of the same extent, such as the Siamese accept, instead of five of larger and two of smaller, such as obtains with us; or they may be due to an alteration in tuning the lute, attributed by the Arabian philosopher Al F[=a]r[=a]bi to a lutenist named Zalzal, who changed one of the frets of the lute to obtain it. It is not necessary to do more than refer to the peculiarities of these Eastern divisions of the scale or the possible survival of one in the Highland bagpipe; the inquirer will find information carried to the limits of our present knowledge in _Recherches sur l'Histoire de la Gamme Arabe_, _par_ J.P.N. Land (Leyden, 1884), and _On the Musical Scales of Various Nations_, by Alexander J. Ellis, a paper read before the London Society of Arts, and published in that Society's Journal, 27th March, 1885. It is sufficient to add that while the neuter third remains a favourite interval in some Eastern countries, as far as investigation has been possible it is known in Europe only among the mountains and in the bagpipe music of the Scottish Gael. The latest development of flute and reed pipes is to be found in the flute, oboe, clarinet, and bassoon of the modern orchestra. Plates XXXVIII. and XXXIX. represent instruments that have been the immediate precursors of or are identical with the instruments named. One, the Dolciano or Tenoroon with a clarinet reed, is of unusual importance as possibly anticipating the invention of the Saxophone. It would require a volume to describe the transformations wind instruments have undergone in the present century, particularly that of the Flute by the late Theobald Boehm. The clarinet and oboe have been less altered because the completely refashioned instruments that have been intended to replace them, the saxophone and the sarrusophone, have not retained those special qualities of tone colour required for the palette of the orchestral composer. But for the brass instruments there has been as yet no halting-place. Furnished early in this century with keys, that important revolution was succeeded by another no less complete--the introduction of the valve or piston system, the gain of which, now almost universally acknowledged, has been largely taken advantage of by Wagner and other recent composers.