authorities, such as Christopher Wren, and others, who lent their aid in depreciating the old mediaeval style, which they termed Gothic, as synonymous with every thing that was barbarous and rude, it may be sufficient to refer to the celebrated Treatise of Sir Henry Wotton, entitled The Elements of Architecture, 4to., printed in London so early as 1624.  This work was so popular, that it was translated into Latin, and annexed to the works of Vitruvius, as well as to Freart’s Parallel of the Ancient Architecture with the Modern.  Dufresnoy, also, who divided his time between poetry and painting, and whose work on the latter art was rendered popular in this country by Dryden’s translation, uses the term “Gothique” in a bad sense.  But it was a strange misapplication of the term to use it for the pointed style, in contradistinction to the circular, formerly called Saxon, now Norman, Romanesque, &c.  These latter styles, like Lombardic, Italian, and the Byzantine, of course belong more to the Gothic period than the light and elegant structures of the pointed order which succeeded them.  Felibien, the French author of the Lives of Architects, divides Gothic architecture into two distinct kinds—­the massive and the light; and as the latter superseded the former, the term Gothic, which had been originally applied to both kinds, seems to have been restricted improperly to the latter only.  As there is now, happily, no fear of the word being understood in a bad sense, there seems to be no longer any objection to the use of it in a good one, whatever terms may be used to discriminate all the varieties of the style observable either at home or abroad.

J.I.

Trinity College, Oxford.

       * * * * * {135}

DR. BURNEY’S MUSICAL WORKS.

Mr. Editor,—­On pp. 63. and 78. of your columns inquiry is made for Burney’s Treatise on Music (not his History).  Before correspondents trouble you with their wants, I think they should be certain that the books they inquire for have existence.  Dr. Burney never published, or wrote, a Treatise on Music.  His only works on the subject (the General History of Music excepted) are the following:—­

    “The Present State of Music in France and Italy. 8vo. 1771.

    “The Present State of Music in Germany, the Netherlands, and
    United Provinces. 2 vols. 8vo. 1775.

    “An Account of the Musical Performances in Westminster Abbey,
    and the Pantheon, &c. in Commemoration of Handel. 4to. 1785.

    “A Plan for the Formation of a Musical Academy, 8vo. n. d.”

As your “NOTES AND QUERIES” will become a standard book of reference, strict accuracy on all points is the grand desideratum.

EDW.  F. RIMBAULT.

P.S.  I might, perhaps, have included in the above list the Life of Metastasio, which, although not generally classed among musical works, forms an admirable supplement to the General History of Music.