Feyoo y Montenegro, a Spanish ecclesiastic, about the middle of the eighteenth century, wrote a dissertation, the title of which, translated into English, is: 'The Delights of Music accompanied by Virtue are upon Earth the foretaste of Heaven.' By way of contrast to this may be noticed Francesco Bocchi's 'Discorso sopra la Musica,' Florence, 1580, in which the learned author maintains that music is injurious to morals and good manners. Vicesimus Knox, in his 'Essays moral and literary,' London, 1778, recommends the acquirement of musical accomplishments as a means of protecting oneself in old age from contempt and neglect. The oddities of the following English works are sufficiently indicated by their titles:--'The Schoole of Abuse conteining a pleasaunt Inuective against Poetes, Pipers, Plaiers, Jesters, and such like Caterpillers of a Commonwelth,' by Stephen Gosson; London, 1579. 'Histrio-mastic; The Player's Scovrge, or Actors' Tragedie,' by William Prynne; London, 1633. For the publication of this work, which contains a satire against vocal music, the author was condemned by King Charles I. to have his ears cut off, and to stand in the pillory. Curious specimens of English treatises on sacred music are:--'A Treatise concerning the lawfulness of Instrumental Musick in Holy Offices,' by Henry Dodwell. Second edition; London, 1700. 'The Temple Musick; or an Essay concerning the Method of Singing the Psalms of David, in the Temple, before the Babylonish Captivity,' by Arthur Bedford; London, 1706. 'The Great Abuse of Musick,' by Arthur Bedford, London, 1711. A German philosopher, in the beginning of the present century, wrote 'On our Inclination to sing when we are in a cheerful Mood.' Others have shown that cheerful music makes some persons feel sad. Shakespeare knew this, to conclude from Jessica's words (The Merchant of Venice, Act V., Scene I.): 'I am never merry when I hear sweet music.' As regards curious illustrations of musical instruments, the following works are especially deserving of notice:-- 'Musica getutscht und ausgezogen,' Basel, 1511, by Sebastian Virdung.--'Musica instrumentalis,' Wittenburg, 1529, by Martin Agricola.--'Musurgia seu Praxis MusicÊ,' Strassburg, 1536, by Ottomarus Luscinius.--The last-named work is written in Latin; the other two are in German. All these contain illustrations of the instruments described by the authors. Sebastian Virdung's book is written in dialogue. Virdung and Luscinius (whose German name was Nachtigall) were priests. Martin Agricola was a professional musician, and conductor of a choir and orchestra at Magdeburg. His book is written in wretched doggerel rhymes, but the wood-engravings are very exact, and his explanations are lucid. The circumstances of Martin Agricola having been practically experienced in the art, and having lived, so to say, in the midst of the instruments on which he treats, render his observations especially reliable.