first sight would seem altogether deficient in character. Examples As clear an instance as could be given of the breaking up of a subject into its constituent figures for the purpose of development, is the treatment of the first subject of Beethoven's Pastoral Symphony, which he breaks up into three figures corresponding to the first three bars.As an example of his treatment of (a) may be taken—(b) is twice repeated no less than thirty-six times successively in the development of the movement; and (c) appears at the close as follows:Examples of this kind of treatment of the figures contained in subjects are very numerous in classical instrumental music, in various degrees of refinement and ingenuity; as in the 1st movement of Mozart's G minor Symphony; in the same movement of Beethoven's 8th Symphony; and in a large number of Bach's fugues, as for instance Nos. 2, 7, 16, of the Wohltemperirte Klavier. The beautiful little musical poem, the 18th fugue of that series, contains as happy a specimen of this device as could be cited. In music of an ideally high order, everything should be recognizable as having a meaning; or, in other words, every part of the music should be capable of being analyzed into figures, so that even the most insignificant instrument in the orchestra should not be merely making sounds to fill up the mass of the harmony, but should be playing something which is worth playing in itself. It is of course impossible for any but the highest genius to carry this out consistently, but in proportion as music approaches to this ideal, it is of a high order as a work of art, and in the measure in which it recedes from it, it approaches more nearly to the mass of base, slovenly, or false contrivances which lie at the other extreme, and are not works of art at all. This will be very well recognized by a comparison of Schubert a method of treating the accompaniment of his songs and the method adopted in the large proportion of the thousands of 'popular' songs which annually make their appearance in this country. For even when the figure is as simple as in Wohin, Mein, or Ave Maria, the figure is there, and is clearly recognized, and is as different from mere sound or stuffing to support the voice as a living creature is from dead