Distinguished composers sometimes prove but unreliable judges of the merits of other composers, especially if the latter are their contemporaries, and perhaps their rivals. We know from the biographies of the composers how greatly Weber disliked Rossini; how lightly Spohr appreciated Weber's 'Der Freisch¸tz' when all the world was in ecstasy about the opera; how Spohr found fault with Beethoven's symphonies. And we know what Beethoven, in an unguarded moment, said of these composers. We remember Mozart's unfavourable opinions concerning Clementi, AbbÈ Vogler and some other musical celebrities of his time; likewise J. S. Bach's joking remarks to his son Friedemann about their going to Dresden to listen to the "pretty little songs" of Hasse; and Handel's hard words about Gluck: "He knows no more of counterpoint than my cook!"--not to record other such gossip which is rather scandalous. Being reminded of these musical discords, it is all the more agreeable to remember the sincerity with which many of our great musicians have acknowledged the merits of their compeers. Haydn's esteem for Mozart was only equalled by Mozart's esteem for Haydn. Beethoven's high appreciation of Cherubini is notorious. Likewise, Schubert's admiration of Beethoven. But it is unnecessary here to point out instances of the kind. Musical amateurs often evince a preference for a certain composer merely because they have accidentally become more familiar with his works than with those of other composers. No wonder that in their literary productions referring to music they should have largely contributed to the curiosities. In noticing here M. Victor Schoelcher's 'Life of Handel,' it is with sincere esteem for his enthusiasm and perseverance, which enabled him to collect interesting information respecting the great composer. However, in order to write the 'Life of Handel' it is not sufficient to be an enthusiastic admirer of his works. One must be well acquainted with the musicians contemporary with the great composer, and with the stage of progress of the art at the time when the little boy Handel took his initiatory lessons. One must also have practical experience in musical composition. The following opinion expressed in the work alluded to may serve as an example of a literary curiosity from a musical amateur:--"When a great artist like Handel is accused of theft, the proofs should be exhibited openly.... These pretended thefts are nothing but accidental resemblances, fugitive, and quite involuntary.... If Dr. Crotch is to be believed, Handel was never anything but a plagiarist, who passed his life in seeking ideas out of every corner!" and so on. Now, it is a well-known fact that Handel did in several instances make use of the compositions of others. But, no discerning biographer would for this reason regard him as a thief. The really musical inquirer would find it interesting to examine carefully how the great composer has treated and ennobled ideas emanating from