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drawn the mental impression is retained. Frequency of treatment naturally strengthens this impression until states of irregular vibration, constituting noises or disease, yield to regular vibrations, constituting music or health. The body echoing every fluctuation of the mind, gives evidence of the change by improved circulation and sequential regu- larity of its various functions. The short notes of music are like morsels of food ; it takes a great many of them to make a meal. In eating we do not skip from one kind of food to another in eighth or sixteenth bites unless we literally bolt our food ; hygiene teaches us to thoroughly masticate each mouthful. Thus every mouthful involves time equal at least to a whole or half note. But we seldom masticate our music j it goes down whole or it is minced into little notes, a hash of sound, and the mandibles of thought and reflection have small opportunity to act. The impression is fleeting and is therefore not fixed in the mind. A succession of short f ones may, however, be heard with real physical benefit provided the tones are repeated frequently so that the musical idea becomes permanently fixed in consciousness. The music cure should never be applied in a wholesale, haphazard manner. Many persons imagine it is necessary to listen to a composition in a certain key to be cured* It is related that Gladstone was relieved from neuralgic pains by hearing violin music in C major. Undoubtedly the key has much to do with the cure, but it is not the composition as a whole which signifies—it is rather those tones which are heard in close connection with the patient’s keynote that produce physical results. These tones may be elim- inated from the composition and used independently of it. It is a phrase here and there, based on the keynote, which