are not very rare as compared with the total work of Stradivari extant. Another variation, but now very seldom seen, is a pattern that may be said to be somewhat opposite in its tendencies, as it is a trifle shorter, but of full average width, with a proportionately wider waist. This type of violin must have been sufficiently plentiful at one time, as one of the first Gaglianos made a deliberate copy of it; that is, so far as his Neapolitan idiosyncrasy and pride would permit. Besides these were the "inlaid Strads," instruments of the greatest beauty in all respects, but having instead of the ordinary purfling a broad black fillet and diamond or lozenge shaped ivory insertions alternated with smaller circular ones; they are further embellished with a floral inlaying round the sides or ribs and also on the sides and back of the scroll. These instruments--Stradivari is known to have made a quartette of them for the Spanish court--are of the greatest rarity. They are said to be all known, but this statement seems open to question when coupled with the assertion that Stradivari made other similar but very small violins. The known ones are of very full size, the parties ordering them at the time possibly being alive to the advantages of quantity as well as quality. Public opinion since the time these were made has not grown in appreciation of the additional ornamentation. The violin pure and simple, with its single line of purfling only as it left the hands of the first master of the art of Brescia, is the one which has found the most lasting favour with connoisseurs and the public generally. Decorative additions, in various and more or less eccentric or extravagant styles, have been introduced from time to time by enterprising liutaros of different countries, but the discerning portion of the public will have none, and thereby pronounce the violin to be an unfit subject for extra clothing; beauty unadorned, adorned is most, is a figure of speech quite applicable to the simplicity of the violin as a work of art. Stradivari, who had now acquired--at the period 1680-90--a standing as an acknowledged master of his craft, showed in his handiwork a decided leaning in consonance with this, as--excepting these "inlaid Strads"--he carefully refrained from introducing any of the little tricks, or fanciful alteration of details, that so many, even of his own countrymen, seem to have been led to affix to their productions. After all, the "inlaid Strads" were probably so made, not at their maker's suggestion, but by desire of the patrons holding a high social position. Double purfled violins seem never to have left his hands, as none appear to be extant and no mention is made of any.