There are instances on record of musicians who in their early childhood were forced against their inclination to practise assiduously, and who must have been tortured by the incessant care for their progress bestowed on them by their parents. They became brilliant players, making music like a well-constructed machine. Our great composers have generally had a happier childhood. They were, in most instances, children whose physical development was especially attended to; who were permitted to ramble about in fields and forests, and by outdoor amusements and bodily exercises to lay the foundation for a healthy life. This, perhaps, sufficiently explains why not all of them have displayed a precocity of talent in early childhood. Indeed, their full development has been in many instances but slow, and several of them did not produce their best works until they had attained an age exceeding that generally allotted to musicians. Gluck composed his 'Iphigenia in Tauris' at the age of sixty-five; Haydn composed the 'Creation' in his sixty-ninth year, and the 'Seasons' in his seventy-second year. Handel was fifty-six years old when he wrote the 'Messiah,' and sixty-one when he wrote 'Judas MaccabÊus.' Some of our most gifted musicians have required much longer time than others for cultivating their talent, because they had not in childhood the same advantage of guidance which others had, and were consequently compelled to find out for themselves the best method of cultivation. Perhaps there now walks behind a plough a Handel, who has not shown that he is a man of genius because circumstances prevented his knowing and cultivating his powers. Happy is the artist who, in his childhood, was led by a judicious guide in the way which saves much time, trouble, and disappointment! Mozart had such a guide in his father; also Mendelssohn. Weber deserves, perhaps, all the greater praise from the fact of his father having been an impediment rather than a help to him. A systematic education in childhood presents the greatest advantage; this is too self-evident to require further comment. It may also be taken for granted that the moral and mental education of the young composer is not less important than are his musical studies. Nay, his moral training is even of higher importance, since one _may_ be a good musician, but _must_ be a good man. Moreover, he is sure to become a better musician if he possesses an acute discernment of right and wrong, with love for the former and dislike to the latter. As regards his mental education, it is more important for him to know _how_ to think than _what_ to think. A clear discernment is preferable to much information; at any rate, it is better to know but little and to understand that little clearly, than to know a great deal confusedly.