I might add a long list of names, American as well as European, which will be forever honored in the history of science for their contributions to geology in the last half-century. But I have intended only to close this chapter on mountains with a few words respecting the men who first investigated their intimate structural organization, and established methods of study in reference to them now generally adopted throughout the scientific world. In my next article I shall proceed to give some account of special geological formations in Europe, and the gradual growth of that continent. CAMILLA'S CONCERT. I, who labor under the suspicion of not knowing the difference between "Old Hundred" and "Old Dan Tucker,"--I, whose every attempt at music, though only the humming of a simple household melody, has, from my earliest childhood, been regarded as a premonitory symptom of epilepsy, or, at the very least, hysterics, to be treated with cold water, the bellows, and an unmerciful beating between my shoulders,--_I_, who can but with much difficulty and many a retrogression make my way among the olden mazes of tenor, alto, treble, bass, and who stand "clean daft" in the resounding confusion of andante, soprano, falsetto, palmetto, pianissimo, akimbo, l'allegro, and il penseroso,--_I_ was bidden to Camilla's concert, and, like a sheep to the slaughter, I went. He bears a great loss and sorrow who has "no ear for music." Into one great garden of delights he may not go. There needs no flaming sword to bar the way, since for him there is no gate called Beautiful which he should seek to enter. Blunted and stolid he stumps through life for whom its harp-strings vainly quiver. Yet, on the other hand, what does he not gain? He loses the concord of sweet sounds, but he is spared the discord of harsh noises. For the surges of bewildering harmony and the depths of dissonant disgust, he stands on the levels of perpetual peace. You are distressed, because in yonder well-trained orchestra a single voice is pitched one-sixteenth of a note too high. For me, I lean out of my window on summer nights enraptured over the organ-man who turns poor lost Lilian Dale round and round with his inexorable crank. It does not disturb me that his organ wheezes and sputters and grunts. Indeed, there is for me absolutely no wheeze, no sputter, no grunt. I only see dark eyes of Italy, her olive face, and her gemmed and lustrous hair. You mutter maledictions on the infernal noise and caterwauling. I hear no caterwauling, but the river-god of Arno ripples sort songs in the summer-tide to the lilies that bend above him. It is the guitar of the cantatrice that murmurs through the scented, dewy air,--the cantatrice with the laurel yet green on her brow, gliding over the molten moonlit water-ways of Venice, and dreamily chiming her well-pleased lute with the plash of the oars of the gondolier. It is the chant of the flower-girl with large eyes shining under the palm-branches in the