into fantasies of harmony, and withdrawing it from virtuous thoughts to strange and wandering devices. A sufficient answer to all this is that in respect of a thing that may be, and was meant to be, properly used, it is no just ground against it that it may also be abused. Music will not harm thee if thy behaviour be good, and thy intention honest; it will not betray thee if thy ears can take it in and interpret it aright. Receive it in a proper spirit, and it will serve thee to good purpose. If thy manners be bad, or thy judgment corrupt, it is not music alone which thou dost abuse, nor canst thou clear thyself of the blame that belongs to thy character by casting it on Music. It is thou that hast abused her, and not she thee. And why should those who can use it rightly forego their own good because of a few peevish people who can never be pleased? The training in Music, as in all other faculties, has a special eye to these three points:--the child himself, who is to learn; the matter itself, which he is to learn; and the instrument itself, on which he is to learn. I will so deal with the first and the last heads, that is, in regard to the child and the instrument, that neither of them shall lack whatever is needful, either for framing the child’s voice, or exercising his fingers, or choosing his lessons, or tuning his instrument. For in the voice there is a proper pitch, where it is neither over nor under-strained, but delicately brought to its best condition, to last out well, and rise or fall within due compass, and so that it may become tunable and pleasant to hear. And in the training of the fingers also, there is regard to be had, both that the child strike the notes clearly, so as not to spoil the sound, and that his fingers run with certainty and lightness, so as to avoid indistinct execution. Of these the first commonly falls out through too much haste in the young learner, who is ever longing to press forward; the second fault comes of the master himself, who does not consider the natural dexterity and order of development in the joints, for if this is rightly attended to, the fingers easily become flexible and master difficulties of execution without pain. As for the matter of music, which the child is to learn, I would set down by what means and degrees, and by what lessons, a boy who is to be brought up to sing may and ought to proceed regularly from the first term of art, and the first note in sound, until he shall be able without any frequent or serious failure to sing his part in prick-song, either by himself at first while he is inexperienced, or with others for good practice afterwards. For I take so much to be enough for an Elementary institution, which can only introduce the subject, though it must follow the right principle, and I postpone the study of composition and harmony till further knowledge and maturity are attained, when the whole body of music will demand attention.