about violins, and rendering them incapable of correctly understanding and appreciating the latest and best productions; this may account for their fanatical admiration of Italian violins, even if they possess only imitation, but, as "ignorance is bliss," they are happy.

On the other hand, there are amateurs who take such a practical view of the matter that they are just opposite in their beliefs to this class of fanatics. They do not see why a new production, which answers the purpose as well and which in more ways than one is preferable to an old production of the same kind, should be regarded as of less value. They do not understand why a desirable article should command an enormous price when another article accomplishing the same effect can be bought much cheaper. And in this they show a common sense which might well be emulated by many others. While it is true that an enthusiast ought never to be blamed for his enthusiasm, if it has a reasonable base, it is no less true that lacking in this respect he is nothing more or less than a fanatic. This class of people is by no means exclusively confined to amateurs, but even includes in its ranks many true artists in music.

ON THE PRESERVATION OF VIOLINS.

There is no doubt that a certain class of violin players pay very little attention to the care of their instruments, as they use them daily, and few have time to bestow the necessary attention upon them. If a violin is out of order, a musician or amateur who knows nothing about it continues to play upon it. At length he perceives that the tone is not the same as it was before. Many, therefore, often lay the blame on the repairer, or on the violin maker, if it is a new instrument. It is therefore desirable that players should always pay attention to their instruments and examine them whenever they intend to use them, to see whether everything is in order; that the neck has not sunk a little to the front, causing the finger board to lie deeper on the top and the strings to lie somewhat too high. Such deviations will occur, particularly when the top is very much vaulted, as well as by change of weather or climate.

As soon as the weather becomes moist it is advisable to keep a violin in a box; when the weather is fine it should be taken out of the box for a time every day; and even if it is a very old violin it is not good to keep it always locked up. A violin should never lie on a floor, whether in a box or not, but should always be kept on an elevated place and in a moderately warm temperature.

Before using the violin it is advisable to rub it with a soft cloth or chamois, so that neither dust nor perspiration may remain on it; it should also be cleaned each time after being played upon. The sounding post should also be examined, to be sure that it still stands perpendicular. The bridge, too, must be looked at, and if it stands obliquely it must be brought into its normal position again before taking the bow. It usually inclines somewhat forward on the E string after tuning it. If this is the case, pinch the E string between the thumb and index finger, while the corresponding part of the bridge is moved backward by the points of the fingers.

On good and excellent violins particular attention must be given to the bridge, especially when it fits the instrument, for it is not always easy to replace it with one equally good. A bridge which is qualified to affect the violin and contribute to the charm of tone of the instrument is more valuable than one would often think. Many consider a bridge of as little consequence as a string, when it breaks on the violin, and think they can restore the loss by a bridge which costs three cents; for the correct model of a bridge is considered only as an ornament by such people. Of course they do not know that this is one of the most important parts of good violins, and that there are but few violin makers who are able to make a bridge as it should be. But it is the same with the bridge as with the violin.

It is not only the correct construction of the violin and bridge which produces a good tone, but the right sort of wood must be found for the purpose. Thus the bad form of a bridge made of fine wood is just the same as a common fiddle made of fine materials. It therefore follows that we should take as much care of a master bridge as of the violin itself.

It some times occurs that the sounding post of the violin becomes shorter by itself; in this case it may be advisable to relax the strings entirely in order to see whether the sounding post does not fall. If this is the case, a new one must be made of old wood by a skilled workman. The cause of this is that the wood contracts more or less, especially in dry weather; this may also be caused by a change of air, which sometimes even produces a distortion of the swell of the top.

When such care is habitually taken, a violin will always be in good order. Too low a sounding post causes a lower position of the top on that side, which, when not remedied, will remain and will produce a defect in the swell and tone. This is also the case when the sounding post is too high, and many violins are seen where the swell is higher or lower than it ought to be on the side where the sounding post stands. This is also the case with the bass-bar or so-called "soul" of a violin, which is just as mysterious a part of the violin as any one can imagine; and its quality shows the skill or ignorance of its maker.

TO ILLUSTRATE HOW VIOLINS OF MY CONSTRUCTION MAY BE COMPARED WITH THE OLD ITALIAN MASTER-VIOLINS.

From the foregoing treatises it will be seen with what energy I devoted myself to the art of making violins, and I can declare to the world with a good conscience that I have reached the standpoint in this art which has been striven for in vain during a century.

I have studied all the characteristics in the construction of the Italian master violins, and have had extensive practice in imitating violins, as masters have made them, and have obtained an understanding which enables me to unite all good qualities of tone in the construction.

As I am able to judge from experience, nobody can confute me. All those who doubt it or will dispute it can neither confute me scientifically, nor prove what they say. I have had a great many opportunities to hear and repair the best Italian violins myself, including Paganini's wondrous violin at Vuilliaume's, in Paris, and I can affirm that my "Kaiser" violin can be considered as wondrous a violin in regard to tone and character as—nay, it is even to be preferred to—that of Paganini's in many respects!

I also make a peculiar kind of Maggini violin. For this purpose I have selected an older form than that which is generally known. I construct these violins in a manner to include all good qualities of tone, and they are, therefore, far preferable, because they surpass those of Stradivarius in greatness of tone. Such distinctions prove that I have made great progress in this art.

Most Italian violins are now of interest only to admirers of art, and may be recommended to antiquarians, for there are only a very few still existing which can be used for concerts, and although if even their voice disappears more and more out of their body, they will always be valued, kept as relics and admired by friends of art. But it is only fancy which makes most of them adore what they do not understand, and they trample down the blossom of the new productions which the world brings forth.

Therefore, it will be