master, as it must be borne in mind that Stradivari had initiated a fresh style, the influence of which was destined to be of a far more reaching character than any hitherto coming to the front. The Stradivarian school became the foremost, most numerous and soon was to be the most imitated, of all. Among the earliest of his pupils (the precise number or even the names of all will never be known), may be placed Alexander Gagliano of Naples, working with him about the period of 1680 and some years later, one or two others of the Gagliano family may have been workmen in the Stradivari atelier. Lorenzo Guadagnini, Joannes Battista, his son and Josef of Pavia all claim to have lent a helping hand and received instruction, and there is nothing in their work that is in contradiction. The first became a great master of the Milanese school and was afterwards rivalled by his son, who was more cosmopolitan and not identified with one place in particular. I cannot include the names of Montagnana or Gobetti, which have been frequently referred to by various authors as pupils of Stradivari; a close examination of their style and workmanship leads to a different fountain of inspiration, notwithstanding which they both unquestionably were at one time influenced by the work of the great Cremonese artist as it arrived in Venice. Of Carlo Bergonzi, a great master, it is a well established fact that he worked with Stradivari and probably did much more for him as assistant than is generally acknowledged, but that he was originally a pupil is not in keeping with the early and varying patterns which have gone under his name. Further on it will be necessary to refer to this luminary of the art. We must not forget the two sons of Stradivari, Franciscus and Omobono, who received their initiation at the hands of their father and worked with him for many years, carrying on the business after his decease. Rumour has brought forth another name as pupil or workman with Stradivari, and whose identification with some fine specimens of the liutaro's art may yet prove an interesting study. A relative of the master, we should expect to find his work strongly tinged with the Stradivarian characteristics. His tickets are said to have been all removed in very early times after their insertion and that one only is known to have been preserved intact. Of the great rival--in public estimation--of Stradivari, Joseph Guarnerius, I.H.S., it can only be said there is not a single feature in his handiwork, style or tone, agreeing with the supposition that he at any time was his pupil or assistant, moreover, having by me distinct evidence of his pupilage of another maker of a different school, will of course prevent the inclusion of his name.