Mdlle. Cristiani’s violoncello--after her death at Tobolsk, in Siberia, in 1853--fell into the hands of M. Benazet, a Baden-Baden amateur. Through the medium of Messrs Gand & Bernadel, it became the property of the eminent violoncellist, Herr Hugo Becker, in 1884. Ten years later Messrs Hill bought it, and still later Mr Charles Oldham, a well-known ophthalmic surgeon of Hove, Brighton, purchased it from them. At the latter’s death, on the 24th January 1907, he bequeathed the “Cristiani” violoncello, together with the famous inlaid “Rode” violin (1722), a violin of the Amatasie period dated 1687, and the handsome inlaid viola made by Stradivarius for Philip IV., of Spain, in 1696, to the nation. These four instruments have been confided to the care of the British Museum, but it is to be devoutly hoped that the authorities may find some clause in Mr Oldham’s will, by which they may avoid the necessity of placing them under a glass case. There is no more melancholy object than the violin or violoncello which is relegated to a museum and compelled to silence. The handsome violin by Stradivarius in the Musée of the Paris Conservatoire, and Paganini’s violin in Genoa--standing under a glass case like an eight-day clock--are melancholy examples of such a useless practice. It would be of much more practical use to art, if wealthy connoisseurs would follow the example of Mr John Rutson, and leave their valuable collections of musical instruments to some musical institution for the use of gifted pupils unable to purchase a suitable instrument for their public début and early appearances. It is undeniable that, as a rule, genius is poorly endowed with this world’s goods, and often lacking in opportunity; thus it is that many a gifted violinist or violoncellist has been balked of success for lack of a good instrument to play upon.