While dealing with the subject of National Music, it seems to me that the diversities of handling which, with every change of the points of the compass, it requires, have hardly been sufficiently taken into account by the generality of those who have considered it. On passing from the east to the south, and thence to France, the amount of noticeable material which presents itself defies any attainable completeness in statement or classification. It is only possible to select a few leading characteristics, and those which have been the least dwelt on by previous historians and students.

Every child, from his cradle-days upwards, has heard of Italy as the land of music. The world is indebted to it for all that makes the beauty of the art, and for much of its science. The last reservation is made in recognition of the claims which have been put forward for Low-country musicians of science; claims not to be dismissed superficially, and thus not to be examined here. But, however the same may be rated, the restrictions and inconsistencies to be noted in the being and in the doings of Italian art are as numerous as they are singular.

Overflowing with natural beauty, rich in historical associations, and in relics which set these forth; peopled by those who are brimful of natural aptitude and that quick nervous sensibility which is so important an element of genius,-Italy, compared with the North, has very little national music that does not come within the circle of regular art. Let us inquire, for a moment, whether some explanation of the fact is not to be found.