In a former paper read before you on this subject of Musical Æsthetics, I had to content myself with a simple review of the theories of certain of the most prominent writers, past and contemporary. In making my conspectus I was led to deal more particularly with the little work by Dr. Hanslick that has made such great Stir in the musical literary world of late years; but I am afraid I reserved too much any decided opinion of my own on this vexed question; did not point my moral sharply enough, or, in other words, attempt sufficiently to fix the precise standpoint from which, to my thinking, these antagonistic theories should be viewed, and, if possible, some settlement of the question arrived at. In re-opening discussion on this theme, while endeavouring to define the subject a little more clearly, I cannot pretend—I trust it may not be expected of me—in the space of a short paper to formulate a complete system of musical philosophy. There is one point, at least, I would have well regarded—namely, the bearing of the subject on practical art; its importance, not only to the speculative thinker, but to the musician also, whether creative, executant, or recipient.