It would require more space than you could allot to the subject, to explain, at much length, "the origin, as well as the date, of the introduction of the term '_Gothic_,' as applied to pointed styles of ecclesiastical architecture," required by R. Vincent, of Winchester, in your Fourth Number. There can be no doubt that the term was used at first contemptuously, and in derision, by those who were ambitious to imitate and revive the Grecian orders of architecture, after the revival of classical literature. But, without citing many authorities, such as Christopher Wren, and others, who lent their aid in depreciating the old mediæval style, which they termed Gothic, as synonymous with every thing that was barbarous and rude, it may be sufficient to refer to the celebrated Treatise of Sir Henry Wotton, entitled _The Elements of Architecture_, 4to., printed in London so early as 1624. This work was so popular, that it was translated into Latin, and annexed to the works of Vitruvius, as well as to Freart's _Parallel of the Ancient Architecture with the Modern_. Dufresnoy, also, who divided his time between poetry and painting, and whose work on the latter art was rendered popular in this country by Dryden's translation, uses the term "_Gothique_" in a bad sense. But it was a strange misapplication of the term to use it for the pointed style, in contradistinction to the circular, formerly called Saxon, now Norman, Romanesque, &c. These latter styles, like Lombardic, Italian, and the Byzantine, of course belong more to the Gothic period than the light and elegant structures of the pointed order which succeeded them. Felibien, the French author of the _Lives of Architects_, divides Gothic architecture into two distinct kinds--the _massive_ and the _light_; and as the latter superseded the former, the term Gothic, which had been originally applied to both kinds, seems to have been restricted improperly to the latter only. As there is now, happily, no fear of the word being understood in a bad sense, there seems to be no longer any objection to the use of it in a good one, whatever terms may be used to discriminate all the varieties of the style observable either at home or abroad. J.I. Trinity College, Oxford. * * * * * {135} DR. BURNEY'S MUSICAL WORKS. Mr. Editor,--On pp. 63. and 78. of your columns inquiry is made for Burney's _Treatise on Music_ (not his _History_). Before correspondents trouble you with their wants, I think they should be certain that the books they inquire for have existence. Dr. Burney never published, or wrote, a _Treatise on Music_. His only works on the subject (the _General History of Music_ excepted) are the following:-- "The Present State of Music in France and Italy. 8vo. 1771. "The Present State of Music in Germany, the Netherlands, and United Provinces. 2 vols. 8vo. 1775.