first as a performer on the harpsichord, he was then able to execute the most difficult lessons for the instrument at sight; for his fingers never wanted the guidance of the eye in the most rapid and desultory passages. But he not only did ample justice to the composition in neatness and precision, but entered into its true taste, which may be easily believed by the numbers who have heard him play extemporary lessons in the style of the eminent masters.

"He not only executed crabbed compositions thus at sight, but was equally ready to transpose into any keys, even neving

a fourth; and if it was a sonata for two trebles and a bass, de (1) the part of the first treble being set before him, he would

immediately add an extemporary bass and second treble to it.

"Having happened to mention this readiness in the boy to Bremner, (the printer of music in the Strand,) he told me that he had some lessons which were supposed to have been composed for Queen Elizabeth, but which none of the harpsichord masters could execute, and would consequently gravel the young performer. I, however, desired that he would let me carry one of these compositions to him, by way of trial, which he accordingly did, when the boy immediately placed it upon his desk, and was sitting down to play it; but I stopped him by mentioning the difficulties he would soon encounter, and that therefore he must cast his eye over the music before he made the attempt.

"Having done this very rapidly, (for he is a devourer of a score, and conceives at once the effect of the different parts,) he said that Bremner was in the right; for that there were two or three passages which he could not play at sight, as they were so queer and awkward, but that he had no notion of not trying; and though he boggled at those parts of the lesson, he executed them cleanly at the second practice.

"I then asked him how he approved of the composition: to which he answered, 'Not at all,' though he might differ from a Queen; and that attention had not been paid to some of the established rules. He then pointed out the particular passages to which he objected; and I stated them to Bremner, who allowed that the boy was right; but that some of the great composers had occasionally taken the same liberties.

"The next time I saw Master Wesley, I mentioned Bremner's defence of what he had blamed; on which he immediately answered, that when such excellent rules were broken, the composer should take care that these licences produced a good effect: whereas these passages had a very bad one. I need not dwell on the great penetration, acuteness, and judgment of this answer. Lord Mornington, indeed, who has so deep a knowledge of music, has frequently told me, that he always wished to consult Master Wesley upon any difficulty in composition; as he knew no one who gave so immediate and satisfactory information.

Though he was always willing to play the compositions of others, yet for the most part he amused himself with extemporary effusions of his own most extraordinary musical inspiration, which unfortunately were forgotten in a few minutes: whereas his memory was most tenacious of what had been published by others.

"His invention in varying passages was inexhaustible. I have myself heard him give more than fifty variations on a known pleasing melody, all of which were not only different from each other, but showed excellent taste and judgment. This infinite variety probably arose from his having played so much extempore, in which he gave full scope to every flight of his imagination, and produced passages which I never heard from any other performer upon the harpsichord.

"He was desired to compose a march for one of the regiments of Guards; which he did to the approbation of all who ever heard it; and a distinguished officer of the royal navy declared that it was a movement which would probably inspire steady and serene courage when the enemy was approaching.

"As I thought the boy would like to hear this march performed, I carried him to the parade at the proper time, when it had the honour of beginning the military concert. The piece being finished, I asked him whether it was executed to his satisfaction: to which he replied, By no means;' and I then immediately introduced him to the band, which consisted of very tall and stout musicians, that he might set them right. On this Sam immediately told them, that they had not done justice to his composition. To which they answered the urchin, with both astonishment and

contempt, 'Your composition!' Sam, however, replied, with great serenity, 'Yes, my composition!' which I confirmed. They then stared, and severally made their excuses, by protesting that they had copied accurately from the manuscript which had been put into their hands. This he most readily allowed to the hautboys and basoons, but said the French horns were in fault; who, making the same defence, he insisted upon the original score being produced, and, showing them their mistake, ordered the march to be played again, which they submitted to with as much deference as they would have shown to Handel."

With these facts before him, it is not surprising that Mr. Charles Wesley should resolve to devote his sons to music as a profession. Their propensity to the science was strong; their talent and genius were unquestionable; so that both in composition and practice they appeared to the greatest advantage. While they were mere children, the most competent judges spoke of them in language of admiration, and in some cases even wept for joy, on witnessing their extraordinary powers. And yet in forming his determination, we may be allowed to doubt whether the father really took that comprehensive view of the subject which its importance demanded. Noble as is the science, and capable of being applied to the most beneficial purposes, it rarely secures the requisite remuneration for the time and mental ability expended upon it. As a handmaid to devotion, when it is suitably used, it cannot be too highly commended; but in Protestant countries, the science, especially in its recondite branches, is more frequently employed as a means of mere amusement, than as a help in divine worship. Men of genius, therefore, who practise music as a means of subsistence, must often expect to pine in want, unless they will apply their powers to the gratification of the worldly and irreligious, or stoop to the drudgery of private tuition. With regard to his younger son, Mr. Charles Wesley at length found that the profession to which he was destined led to results of a painful nature. But the discovery was not fully made till it was too late to retrace the steps which had been taken.

Mr. Charles Wesley's sons, though one in their love of music, and equally successful in the cultivation of it, were very different in their personal character. Charles enjoyed /

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the advantages of a classical education, being regularly trained in a school at Bristol; but he appears to have been incapable of excelling in anything except music, in reference to which he was all but inspired. He was affable, kind, good-humoured, and easy; buried in music; vain of his abilities in the science, to which his knowledge was in a great measure limited. His conversation consisted chiefly of anecdotes which he had collected in the course of his professional engagements. In his manners he had all the ease and elegance of a courtier; but it is doubtful whether, through the entire course of his life, he was able to dress himself without assistance. If left to himself, he was almost sure to appear with his wig on one side, his waistcoat buttoned awry, or the knot of his cravat opposite one of his shoulders. His morals were correct, and his respect for his parents most tender and reverent; but in early life his mind was not deeply impressed with the solemn truths of religion.

Samuel, on the other hand, was possessed of great intellectual power and acuteness. His mind was truly Wesleyan : quick, shrewd, and penetrating. He was mostly educated by his father, especially in Latin. His knowledge was extensive; his conversation elegant, agreeable, instructive, and varied; and he was capable of excelling in any science or profession to which he might apply himself. Yet his natural disposition was not so harmless and kindly as that of Charles; nor did he cherish that deep filial affection by which his brother was always distinguished. The father's principal concern respecting Charles was, that he did not give his heart to God. Samuel, even in his youth, showed a waywardness of temper, that cost his father many a pang of sorrow, which he expressed in pious and energetic verse. tha When these young gentlemen had acquired a superior proficiency in music, and celebrity in various quarters, they attempted to turn their attainments to some practical account, by beginning a series of select concerts, which they continued for several years in a large room, fitted up for that purpose in the house of their father, in Chesterfield-street, St. Mary-le-bone. The first was held in the year 1779. The price of a ticket for each course was three guineas. The regular subscribers varied in number from thirty to upwards of fifty; but several persons attended them occasionally, who

did not subscribe to an entire course, so that the room, which held about eighty persons, was usually crowded. Considerable sums of money were in this way obtained; but the expense of providing performers, refreshments, attendants, &c., was a heavy tax upon the receipts, so that the profits were but small.

Among the regular and more distinguished subscribers to these concerts were the Bishop of London, Lord Dartmouth, Lord Barrington, Lord and Lady Le Despencer, the Honourable Daines Barrington, the Danish and Saxon Ambassadors, Dr. Shepherd, Mr. Madan, and several others, both clerical and lay.

The Earl of Mornington was not only a constant attendant fue upon these concerts, but also a frequent performer upon the violin. For some years he breakfasted weekly with the family of Mr. Charles Wesley, and spent much time with the two sons, practising upon different instruments, and conversing on subjects connected with their favourite study. He used to carry his violin under his coat, as he passed along the street, and often remarked to his friends the Wesleys, that he should never be ashamed to be mistaken for a professional teacher of music. This nobleman of elegant taste and polished manners, whose skill in musical science rivalled that of his friends the young Wesleys, took little interest in politics, and still less in military exploits.

There was another personage of distinction who attended these concerts, and is entitled to especial notice: the venerable General Oglethorpe, with whom the colony of Georgia had its origin, and under whose patronage John and Charles Wesley had gone to that settlement forty-five years before. He was now considerably more than eighty years old, but retained his faculties in surprising freshness and vigour. He was at this time a friend and companion of Dr. Johnson; and probably attended the concerts from a feeling of regard for the father of the youthful musicians, who had been his Secretary in a distant land, and who had not always been treated by him with that generous confidence to which he was entitled by his fidelity. It is said that the aged General, about this time, meeting with Mr. John Wesley, kissed his hand, and showed him every mark of profound respect. He could not be less impressed in favour of Charles, who had stood in a