the modulation is frequently harsh, and the construction of the parts crude.

The first verses of the Magnificat, "My soul doth magnify," &c. to "He hath regarded the lowliness of his handmaiden," are exceedingly well set; but we cannot approve of the manner in which Mr. W. has treated the following verse," For behold from henceforth." Here we have a sudden break and a pause; after which the words "All generations shall call me blessed," are treated alla fugata, by the canto and base. This is certainly novel, but to us not agreeable. "And holy is his name." Here the tenor moves from a seventh to an eighth with the base. The note in the tenor should be G, and we should have taken B for an error of the engraver, if had not found the latter note in the organ part.

Were we to pursue our remarks minutely to the end of this Magnificat, we should do little more than repeat what we have before said. The scientific reader, if he examine it, will find the short imitations, with which it rather abounds, not very satisfactorily managed; and he will discover some inaccuracies of counterpoint, especially in the Gloria Patrí; for at page 49, bar second, there are octaves between the alto and base; in the next bar there is a harsh relation of the tritone C F#, and in page 50, between bars 7 and 8, there is the still harsher relation of the diminished eighth, B Bb. At page 51, bar second, the canto and tenor may be said to move in unisons; and in the eighth bar of the same page, there is the extraordinary relation of Bb B, between the base and alto. Consecutive fifths take place between the tenor and canto, in the 5th bar of page 52; and in the fifth bar of page 53 the alto, which stands in relation of minor seventh to the base note F, rises to an eighth with it.

The execution of this Gloria is by far more incorrect than that of any other part of the work, and we hope the author will rectify it on a second impression. In proceeding to the Nunc Dimitis, a more pleasing labour awaits us. The beginning of this portion of the service may be classed among the best passages of the work, and furnishes us with an excellent specimen of choral harmony. (See Ex. No. 7.) The verse " To be a light to lighten the Gentiles" is good, though at the end of it our author has been betrayed into a division on "Glory," which is a word really worn out by incessant use. He has however arranged the parts very cleverly,