Others are artificial and are played by the touch--such as the harp, the _vihuela_ (the ancient guitar, which resembles the lute), and others like them; the music of these is called _artificial_ or rhythmic. The third species is pneumatique and includes instruments such as the flute, the douçaine (a species of oboe), and the organ." There may be some to dispute this ingenious and highly original classification. The best known, and perhaps the most useful (because it is easily accessible) history of Spanish music is that written by Mariano Soriano Fuertes, in four volumes: "Historia de la Música Española desde la venida de los Fenicios hasta el año de 1850"; published in Barcelona and Madrid in 1855. There is further the "Diccionario Técnico, Histórico, y Biográfico de la Música," by José Parada y Barreto (Madrid, 1867). This, of course, is a general work on music, but Spain gets her full due. For example, a page and a half is devoted to Beethoven, and nine pages to Eslava. It is to this latter composer to whom we must turn for the most complete and important work on Spanish church music: "Lira Sacro-Hispana" (Madrid, 1869), in ten volumes, with voluminous extracts from the composers' works. This collection of Spanish church music from the sixteenth century through the eighteenth, with biographical notices of the composers is out of print and rare (there is a copy in the Congressional Library at Washington). As a complement to it I may mention Felipe Pedrell's "Hispaniae Schola Musica Sacra," begun in 1894, which has already reached the proportions of Eslava's work. Pedrell, who was the master of Enrique Granados, has also issued a fine edition of the music of Victoria.