All these particulars point to considerable time spent in direct supervision after the preliminary designs had been made by the principal. This would reduce the available time for direct manual labour at his disposal. There would occasionally be some time spent in the discrimination for purchasing of particular choice kinds of pine and maple, these requiring the closest attention. Whether samples were brought for Stradivari's inspection by agents or their principals, or whether the maestro took journeys to particular districts where the exact kind of wood suitable to his requirements was to be had, we know not, but there seems to be much probability that the latter was his mode of obtaining that splendid growth of pine, both in appearance and tone-producing quality, with which he brought about such beautiful results. This, when obtained, had to be carefully stored away until such time as it might be required for immediate use. The cutting down and sawing up into lengths for different instruments would not be such as a maker with less patronage would personally engage in; we can therefore place this aside from the time consuming duties. There is, in the foregoing, enough and much over for reasonable inference that with a master, such as Stradivari, having the refined taste and adaptability for work, there was a considerable amount, if not all, of the merely mechanical work done according to his command or under his eye. This would naturally enough increase in proportion as the business connection grew. There would be in this nothing differing from what has been habitual with eminent professors in all branches of art; as far back as Phædias, Praxitelles and Appelles of the ancient classic Greek period. Later on it is well known that many of the masterpieces of the Renaissance period had much work upon them other than that immediately from the master's own hand. If this were not permissible, the number of the grandest creations of artistic genius would be most seriously limited. Raphael and his contemporaries, Rubens and Rembrandt, besides many other masters, are well known to have had numerous pupils in their studios engaged in carrying out ideas previously determined upon and drawn out for their guidance. These assistants were gradually drawn into the way and habit of thinking of their masters, and on leaving them, their own individuality or natural tendency uniting with what they had absorbed of their master's manner, the blending of the two became a fresh production of style. If we take this as our guide in summing up the probable amount of help that was drawn upon by Stradivari during his career, especially that part at which, in our consideration of him and his works, we had arrived, it cannot possibly lead us far from the actual facts. Taking into account the known pupils or assistants who received the benefits of personal instruction from Antonio Stradivari, they are more numerous than we can affix to the name of any other