sixth note, which would be Creation perfected, without entering upon the fifth higher key; and it cannot sound the seventh falling into the octave without discord. Therefore the eighth note is not the octave of the first, as it is the fourth note of the fifth higher key.

My first plan was to take away entirely the present development of the Minor Keys; but, on consideration, it seems best to leave them exactly as they are, and to add fresh musical developments of the Minors, explaining them, and leaving it needless, for those who do not wish to look deeper into the subject, to examine the former development. Should they do so, however, they will see that not a single note is altered, the only difference being the Scales developing by fifths instead of by sevenths.

The Major Scales are the type of Creation perfected—man being created, and the Almighty resting—every Major Scale developing the sixth and seventh notes, and the eighth the octave of the first. Therefore, every Major Scale includes the Sabbath, or Rest.

I am quite aware that musicians will set aside the Minors as here written; but I trust some minds may be led to examine the beautiful Scriptural types, too deep for our minds ever to find a beginning (the Scriptures have no beginning), and too high for our minds ever to complete ascending.

If, as I believe, the Natural Sciences throughout Creation develope by Trinities, how silently, yet how strikingly, may we trace the wonders of Redeeming Love. "Wisdom hath builded her house; she hath hewn out her seven pillars."— Prov. ix. I. We strikingly see in the development of harmonies the type of 2 Cor. iii. 18, as each key rises from darkness to light, or, descending, falls from light to darkness.
F. J. Hughes
BEDWYN LODGE,
SANDOWN, ISLE OF WIGHT,
February, 1885