copies of one or other of the early Italian School, that will be found quite good enough for solos. These instruments may have individual faults and weaknesses, but the player will gradually find these out and learn to humour them. Of the old English instruments I would advise the reader to beware, a lot of them although of good wood and passable varnish, yet manage to have some more or less irreparable fault not readily discernible at first sight. An instrument of this class I have in mind, a beautiful 'cello spoiled with the f holes being cut about half their length too low, making it impossible to play a forte passage on the A string owing to the bow coming in contact with the lower corners; so that this would not be readily noticed a fingerboard had been fitted, which was about three inches longer than is usual. Others are thin in the wood, causing wolf notes in various positions. These latter remarks refer more particularly to nameless old English instruments of the home-made type, and of course do not apply to the best work of such makers as Forster, Banks, Thompson, Joseph Hill, etc., many specimens of which have a particularly fine tone.

To the young player buying an instrument for life, if upwards of £15 can be given it is far better to purchase an entirely new one of good make, of a model suited to the individual taste of the student; by the time he has worked some ten or a dozen years on it he will have brought out most of the beauties of tone which the instrument is capable of giving. A really good new instrument improves more rapidly than is generally admitted—with good hard exercise work in all the positions.

In choosing a bow Dodd and Tourte are names to conjure with, but happily there are no lost "secrets" in the art of bow making, and fortunately a new bow after a few weeks use is better than an old one, therefore the craze for old bows except with collectors and rich amateurs, will never be so pronounced as is the case with old instruments. If the student can pay say a couple of sovereigns, he must consider himself tricked if he does not secure a bow good enough for any sort of work, and one which will with care last for years.

I have lately come across some French bows without any name, retailed, I believe, at about thirty shillings, which are very fine indeed, nice and light with plenty of spring. Some recommend a second-hand bow, saying that in buying one that has been used the faults, if any, will have made their appearance, but as it is hardly possible to tell whether a bow has been much used unless the stick is very badly worn, this is hardly sound. Buy from a conscientious dealer, pay a fair price and trust to it, that is all that can be done.

CHAPTER II.

How to Hold the Instrument—The Attitude of the Player—The Use of a Sliding Pin Recommended—Correct Way of Holding the Bow—Some Incorrect Sketches of Same.

Attitude of the Player.

Most pupils are surprised I have no doubt, at the evident discrepancy seen in the plates usually published with 'cello schools, when compared with the manner in which our first class artists hold their instruments. I will endeavour in some measure to explain this away.

The correct way to hold the 'cello if the instrument is not fitted with a sliding pin is as follows. The player to sit on the front part of the chair with the feet advanced, the left a little more forward than the right. The 'cello to be held with the legs, the lower part of the front edge (table) of the instrument being held in position by the right calf—the edge of the back being supported by the left calf—the legs of the player not to cover the ribs of the instrument so that the vibration is not impeded. The upper part of the back to the right of where the neck of the instrument is fitted should rest against the chest of the performer, this will throw the scroll of the instrument a little to the left of the face. The instrument to be held high enough for the bowing to clear the knees of the player. The thumb to be placed in a horizontal position at the back of the neck of the instrument, and should be between the first and second fingers. The left elbow not to be raised. This then is the correct manner of holding the 'cello. If the reader will look at the plate which is published with either the Kummer or the Seb. Lee instruction book, he will find that the figure there agrees with the foregoing rules in every particular.

If the student makes use of a sliding-pin these instructions cannot be observed in every respect, the legs are not required to hold the 'cello, the left knee alone being brought into use as a slight support—not to hold the instrument from the ground, but to prevent it from rocking backwards and forwards.

In this matter I would like the student to understand that attitude does not assist in the production of music, but do not let the reader imagine that if unnecessary posing does not help, awkward and uncouth positions of the players do not take away from the effect. Anything which distracts the attention of the audience from the music should be rigidly avoided; awkward attitudes, and grotesque motions of the head and body should therefore be instantly suppressed by the teacher or the private friends of the student.

Piatti, who does not use a 'cello peg, holds his instrument in a correct manner, not shuffling about or varying his position. Now if the reader ever has a chance of hearing Van Biene, let him observe the manner in which that artist holds his 'cello. We have here the two extremes; as Piatti is of the strictly correct order, Van Biene is of the exaggerated artistic order, all the time he is playing constantly striking some fresh attitude. If Van Biene had again to take to concert work, I have no doubt that he would calm down a little in this respect, his exaggerated style while being very effective on the stage, would not be tolerated on the concert platform. By all means let the student use a sliding-pin, but let him take advantage of the greater facilities which are offered, to make his attitude more artistic, always adopting the happy medium in this matter at least, correctness—without awkwardness, artistic grace—without unnecessary vain posing. As a first class elocutionist seeks by attitude to help the effect of his words, not to distract the attention of his audience, so the attitude of the 'cellist must be pleasing and easeful. If the student will compare (Fig. 1) with the plates usually published with 'cello schools, especially the two previously mentioned, he will see the importance of the matter.

How to Hold the Bow.

Fig. 2.

Fig. 3.

There can be no departure from the acknowledged way of holding the bow if the best results are to be obtained, that is to say, that the rules must be strictly observed as far as the individual shape of the hand will allow. It will be observed that the nut of the 'cello bow is scooped out on the inner side, which forms two projections, one of these, the lower one, is surrounded with metal through which the hair of the bow passes, the upper