The devious and romantic ways in which fine instruments have become the property of famous artists would fill an interesting volume in themselves, as would also the swindling practices of which they have been the innocent cause. The famous violoncellist, Herr Karl Davidoff, became possessed of his grand Stradivarius entirely through the medium of his magnificent talent. His instrument was originally the property of Count Wielhorskey, a Russian amateur violoncellist, who had a passion for collecting musical instruments. For some reason or other it suddenly dawned on this Russian nobleman that it was impossible to play on all the instruments in his store at once, and that they could not improve standing like waxwork figures under glass cases. So, he conceived the brilliant idea of instituting a competition, the winner of which was to be rewarded with the Stradivarius violoncello. Karl Davidoff was just then touring in Russia and he heard of the Count’s challenge. At once he entered himself as a competitor, and, being then at the zenith of his glory, it was only natural that he should carry off the prize easily. He kept it until the end of his life, but it bears many a mark of his rough usage. The above-mentioned Count Wielhorskey also owned a fine-toned violoncello, which he usually alluded to affectionately as “_the_ Amati.” This instrument, we believe, was in reality a Ruggieri, but to the Count it was always “_the_ Amati.” It belonged originally to a Florentine lady of noble birth of the name of Renoncini, and through the instigation and enthusiasm of a certain Italian named Francesco Ciandi, himself a violoncellist in the orchestra of the Italian Opera House at St Petersburg, was brought from its southern home to the Russian court. The Emperor Nicolas presented it to Count Wielhorskey knowing him to be passionately devoted to violoncello playing. It became the Count’s favourite instrument, and he scarcely played on any other until old age cramped his fingers and forced him to give up playing entirely. Then, as in the case of the Stradivarius, being averse to sticking it up under a glass case, he presented it to Franz Knetch, solo violinist in the court orchestra, who recounts the gift in his diary under the date 30th October 1850: “To-day Count Wielhorskey presented me with ‘_the_ Amati’ violoncello.” He also became greatly attached to the instrument and bequeathed it to his sister, who, after his death, was anxious to give it to a museum. But apparently it was again saved from the waxwork type of existence, as Herr Ludwig Grutzmacher, the far-famed violoncellist, played on it for over forty years, and called it “My Amati.” The present owner of this fine instrument we believe is a wealthy gentleman in Hamburg.