of some interest to many to hear more minute particulars about the method of construction of violins of the old Italian masters, as many persons are still in darkness as to which violins the best tone is to be ascribed. This want of knowledge comes simply from the fact that a combination of uninjured instruments of the best masters is a task very difficult to be effected, and these instruments would by all means have to be put in proper condition by an expert.

This has, perhaps, never been done yet, and a general comparison could only be made as the opportunity presented itself.

As I acquired knowledge of the system, the forms and swells of violins of the great masters, I also became so thoroughly familiar with the characteristics of tone that I have found out what the present needs require.

I will now consider in detail the different characteristics of tone of the productions of the great masters, and state in what manner this difference was obtained.

Jacob Stainer, at Absam, in Tyrol, was a pupil of Nicholas Amati, at Cremona. Stainer and Amati made violins which were mostly demanded by amateurs on account of their round, sweet, silver tone. This character of tone they produced by a small, round and some what oblong swell, as well as by a neat and somewhat smaller size than that of Stradivarius, who endeavored to gain a greater sonority of tone. Stradivarius, therefore, made the swell less high than Stainer or Amati, but of a broader circumference, drawn oblong, by which he obtained a sublime tone in an aristocratic and majestic form.

Joseph Guarnerius del Jesu.—As long as he made violins according to the school of his great master, Stradivarius, his productions were of a similar nature. Later, he made somewhat smaller models, sometimes with a circumferential swell, by which he gained a somewhat smaller tone, but with a striking, quick touch of a peculiar brilliancy. It is strange that he gave a different form to each of his violins, the f, the swells and the scrolls varying in almost every instrument. It is told that he was imprisoned for a long time, and, under great deprivations, he made violins secretly. In all his productions his great genius is recognized.

Duffu Prugar, at Bonninien, lived in the sixteenth century. His violins have a large and wide form, with interesting ornaments of carving work and inlay; their swells are beautiful, and as high as those of Stradivarius, and they produce a great and full tone. But as there are only few still existing, many violins are imitated in France according to this model, and they are spread far and wide.

Maggini's violins are mostly of a large size and of a higher swell and fuller toward the extreme parts than all the other violins of the Italian masters, therein producing a great fulness of tone; on the G and D strings their color of tone is particularly deep.

Gaspard da Salo made very interesting violins of small and large size; the former have a peculiar character of tone, not very strong but of a very clear color. These violins have a beautiful, high and round swell, similar to those of Jacobus Stainer, but those of a greater size are flatter, producing more power of tone, and are therefore better adapted for solo performances.

These celebrated masters left us a great choice of different forms and swells, as well as their method of workmanship in regard to the top and bottom of their violins, where the proof is to be seen that they always made investigations in order to gain a greater perfection. Stradivarius and Joseph Guarnerius have especially obtained a beautiful quality of tone in their violins, yet in order to gain an easy touch of tone, they worked the top pretty tender, and in many instances they made the middle part of the top most thin, probably to further the easiness of sound still more. Such violins do not answer for concerts.

It seems that at that time less attention was paid to such a power of tone as is required now, because only few of them have been found with an acceptable thickness of wood in the top and bottom. This is, therefore, the reason that so many Italian violins produce too weak a tone in concerts.

Although Maggini left the top and bottom thicker in the middle part, still, most of his violins have not, on account of construction and deep color of tone, been received with favor like those of Stradivarius and Joseph Guarnerius. As only a few such Guarnerius and Stradivarius violins were found which by reason of their thickness of wood answered the purpose of solo violins, every one believed all their productions of a like character.

Therefore, so many solo players often expose their ignorance by playing on such violins in concerts.

Stradivarius instructed other pupils besides Joseph Guarnerius, who made excellent violins, and many of these violins still exist. As the most of them were made with the full thickness of wood, they produce a splendid tone, often better than some of those made by their great master. This teaches us that he who wishes to possess an Italian violin on account of its tone cannot depend upon finding it by the name alone, but he has to pay all his attention to the discovery of those in which the necessary thickness of wood is found.

A solo player, therefore, should never play a violin on account of its name alone, for if the violin produces a weak tone, the blame will be laid on him, and so much the more because it is generally supposed that such instruments must be master violins.

ART EXHIBITIONS.—HOW VIOLINS ARE EXAMINED AND JUDGED.

First of all I will take America into consideration, where the art of making violins is too little understood to be judged. Commissioners of exhibitions like those, for instance, of the late Centennial, have no idea of violins, and, therefore, are unable to appoint judges competent to award the premiums. It would be too much to ask that they should themselves be such connoisseurs, for the violin is still considered as a fiddle in this country, and it may still take a long time before the people here reach the standard of knowledge and appreciation which Europe occupies. Therefore, only very few real violin makers are found here, for most of them are only amateurs doing business in this branch. In the Centennial exhibition in Philadelphia, in the United States Department, were found mostly such amateur violins. I have heard that all those who called themselves violin makers received a premium. The judges were either unequal to the requirements of their office or they desired to offend nobody. If the latter be the case they certainly acted generously if not justly. But exhibitions of art were established for the purpose of finding out in which way the different articles of industry and art compare with each other. Proper examinations can be made only by professional men, otherwise only that fiddle that "cries" the most will attract the greatest attention.

Justice will never prevail in such exhibitions, owing either to want of knowledge in order to be able to judge who has deserved a premium, or to favoritism, for merit can hope least, especially in Europe. Artists there can only receive acknowledgment if they have the means to spend. The Centennial exhibition, however, was not guilty of such a wrong; here it was the desire to be as just as possible to all, although not every one could be satisfied. To act in the capacity of an awarder is always a thankless task; whether the judge has or has not the necessary knowledge, discontent is sure to follow, because the conceited man who has been unrewarded does