opinions as to the most satisfactory quality of tone for its purpose and considered it the best. Milan is situated in Lombardy, north-west of Cremona, and distant from it between forty and fifty miles; not a very long way at any time, but quite sufficient for each place to cultivate or indulge in any artistic or musical fancies or whims independently of the other. We find maker after maker in Milan keeping within certain limits as regards the quality of tone produced there; I do not know of one whose instruments emitted other than the Milanese quality. We may, I think, safely assume that so far from loosely and superficially instructing his pupils, Stradivari's tuition was of a deeper, far-reaching kind than has ever been suspected. If the tone of Lorenzo Guadagnini is compared with that of the makers who were working in Milan when he arrived, it will not be difficult to perceive that the Milanese type is still retained, although much enlarged and matured, in fact become freshly developed, throwing out the additional qualities for the obtaining of which the great master of Cremona had carefully trained his gifted pupil. All this is not in the least interfered with by the fact of Joannes Battista Guadagnini's tone differing in some respects--and more at times--with that of his father, but rather helped by it; both assert on their tickets that they were instructed by Stradivari, and both show the results of their training in that largeness and impressiveness which is so much beloved of violinists and which without doubt came from their great teacher. Josef, the son of Joannes Battista Guadagnini, appears also to have either been instructed by Stradivari or to have assisted under his personal supervision--which would amount to much the same thing. We may perceive in the tone of this maker also the influence of the great master in the same directions as are manifested in the works of his father and grandfather, they are all of the Stradivarian school. Let us now turn in another direction. Alexandri Gagliano of Naples tells us that he too was a pupil of Stradivari, and looking at his work there is nothing about it inconsistent with his statement; his typical design is formed upon that of Stradivari, and many of his details of workmanship are such as can only have been carried out as the result of either a lengthy study, or from being under the immediate supervision of the master.