Now, we may ask, was the difference of tone between the violins of Stradivari and those of the other makers of the Brescian, Cremonese, Venetian, Milanese, or Neapolitan school, in consequence of the tonal difference between the upper and lower table, as supposed to have been discovered by the modern Parisian investigator? was it resulting from the correct air mass inside? the relative thickness of the tables, or we may as well include the straight and fine grain theorists, the amber varnish in the wood theorists, the wood of great age theorists, and the generations of use theorists, and lastly those who mix them altogether. If Stradivari practically worked upon one, some or all of these theories, there is still more mystery concerning the close proximity at which his pupils or assistants arrived, several of whom we might conclude were possessed of all necessary means of acquiring to the full their master's excellencies. Just for a moment or two we may turn aside and notice the kind of variation or the distinguishing difference between the tone in the general acceptation of the term--of Antonio Stradivari and other makers, or, as time has proved, masters of their art, if not on an equal standing with him. There is frequently among musicians a disposition to set down as inferior any tone that may seem to differ in degree or kind with that of Stradivari; that is the ideal type, it must be Stradivari and no other; some have even gone so far as to say, "there is only one quality," that of Stradivari, and when other masters did not produce it, they were unable to do so; this is more than a hint at condemnation of the head of the Cremona school as having been very lax in the proper and thoughtful training of his number of pupils; this latter an almost necessary consequence of eminent rank, taken apart from the usual assistance found to be obligatory from pressure of work. If we glance over the Italian schools taken one after another, the facts, if acknowledged, will be seen to point in other directions. Taking for instance the Milanese master, Lorenzo Guadagnini, who tells us himself that he learnt his art under Antonio Stradivari, we find distinct traces of it in his tone, the general calibre is the same and most of the fine, distinguishing features noticed in the tone produced by his master; the difference, however, is that which is peculiar to the master makers of Milan, that of a slightly less reedy emission of sound. Some have called it harder, which is not a correct description. Chords are produced with it as easily and roundly as with any other, the individual notes blend beautifully and give an impression of homogeneousness in no wise inferior to anything produced in Italy. There was no apparent difficulty in the way of Milan acquiring and cultivating the variety of Italian tone known as the Cremonese had they been so disposed; we are therefore led to infer that each place with its musical world held its own