sts and anatomists,
whose labors should not be overlooked in a complete or systematic work
uniting anatomy to psychology.

Under these circumstances it is necessary and practicable, since my
"System of Anthropology" has been entirely out of the market for
thirty years, to present a concise exposition of cerebral psychology
and physiology, to satisfy those who perceive the inadequacy of the
Gallian system, and who are aware that my discoveries have thoroughly
revolutionized as well as enlarged cerebral science, rendering the old
term phrenology inadequate to express its present status.

I propose therefore to publish in the successive numbers of this
Journal a concise "Synopsis of Cerebral Science," giving as concisely
as possible the outlines of that vast theme, in so clear and practical
a manner that each reader can test its truth in nature by examining
character, correcting the errors of phrenology, demonstrating the
science by his own experiments, and applying its principles in the
treatment of disease, in experimental investigation, in education,
self-culture, and elocution. This may satisfy the urgent present
demand, until time shall permit a satisfactory work, containing the
illustrations and proofs, the important modern discoveries in cerebral
anatomy and vivisecting experiments, as well as the vast and
interesting philosophy into which we are led by cerebral science. The
March number will contain the first instalment, and its publication
will be continued through the volume.

MUSIC.

The claims of music were never so thoroughly presented as in the "New
Education," in which it was shown that music was the most effective of
all agents for the cultivation of man's higher nature, and the
elevation of the world from its purgatory of selfishness, poverty, and
crime. This idea was most fully realized by MRS. ELIZABETH THOMPSON,
who has spent a considerable amount in promoting the currency and use
of music, especially of a religious character.

The idea that music should exercise a world redeeming power, and
promote all social advancement, must appear strange, when first
mentioned to those who are familiar only with fashionable operatic
performances and the heartless style of vocal and instrumental music
in vogue at the centres of musical education, which is robbed as
thoroughly as possible of all ethical life, all soul inspiring power.

There is music, however, which sways our noblest emotions, which can