align="right">XVII.  

Leon Sametini Harmonics 198 XVIII.   Alexander Saslavsky What the Teacher Can and Cannot Do 210 XIX.   Toscha Seidel How to Study 219 XX.   Edmund Severn The Joachim Bowing and Others 227 XXI.   Albert Spalding The Most Important Factor in the Development of an Artist 240 XXII.   Theodore Spiering The Application of Bow Exercises to the Study of Kreutzer 247 XXIII.   Jacques Thibaud The Ideal Program 259 XXIV.   Gustav Saenger The Editor as a Factor in "Violin Mastery" 277

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ILLUSTRATIONS

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VIOLIN MASTERY

EUGÈNE YSAYE

THE TOOLS OF VIOLIN MASTERY

Who is there among contemporary masters of the violin whose name stands for more at the present time than that of the great Belgian artist, his "extraordinary temperamental power as an interpreter" enhanced by a hundred and one special gifts of tone and technic, gifts often alluded to by his admiring colleagues? For Ysaye is the greatest exponent of that wonderful Belgian school of violin playing which is rooted in his teachers Vieuxtemps and Wieniawski, and which as Ysaye himself says, "during a period covering seventy years reigned supreme at the Conservatoire in Paris in the persons of Massart, Remi, Marsick, and others of its great interpreters."

What most impresses one who meets Ysaye and talks with him for the first time is the mental breadth and vision of the man; his kindness and amiability; his utter lack of small vanity. When the writer first called on him in New York with a note of introduction from his friend and admirer Adolfo Betti, and later at Scarsdale where, in company with his friend Thibaud, he was dividing