of this county, came under our observation a few years ago, at a large and populous village situated on the borders of one of the extensive fields of industry of which we speak.  On the anniversary of the opening of the school, the children frequenting it—­in number nearly 300—­had been long accustomed to march in procession up to the mansion of the neighbouring squire, the founder and endower of the school.  Ranged upon the lawn in the presence of their aged benefactor and his family—­children, grandchildren, and great-grandchildren, were among them—­led by no instrument, and guided only by the voices of their teachers, they performed an anthem, in parts, with an accuracy and precision which was truly wonderful.  As their young voices rose in simple beauty to the skies, tears coursed down the old man’s cheek, and though already bowed by the weight of nearly ninety years, he bent still lower, to hide the emotion which overcame him.  Six months after this occurrence, those children were drawn up to pay their last tribute of respect to their benefactor, as his remains passed to their final resting-place.  In the churches of the north, the school-children may be seen singing with evident delight, not the mere passive instruments of the masters or teachers, but joining heart and soul with the congregation.  The Lancashire chorus singers have long enjoyed an extended reputation; at the last festival at Westminster Abbey, they proved the principal strength of the choral band.  In other parts of the kingdom, far less aptitude for music is shown among the working classes.  The singing in the churches is, for the most part, of the lowest order.  In many parishes considerable pains have, of late, been taken in order to improve the psalmody, but no corresponding effect has been produced.  In the agricultural districts of the south of England, no songs are heard lightening the daily toil of the labourer, and the very plough-boys can hardly raise a whistle.  It is impossible to account for this; but the fact will be acknowledged by all who have had the opportunity of observation.

In speculating upon the future prospects of music and musical taste and science in England, the two rival systems of teaching which have been recently introduced, must necessarily become the subjects of remark and observation.  The names of the teachers of these systems are no doubt well known to all our readers.  Mainzer, who is himself the author, as well as the teacher, of one system, and Hullah, the teacher of the system of Wilhelm.  Wilhelm’s method has been stamped by authority, and the Committee of the Council on Education, after “carefully examining” manuals of vocal music collected in Switzerland, Holland, the German States, Russia, Austria, and France, in order to ascertain the characteristic differences and general tendency of the respective methods adopted in these countries, at length decided in favour of Wilhelm.  The accounts received of the success of this system in Paris, induced the Council