Contemporary with Stradivarius, Italy claimed many fine fiddle-makers, indeed, as a matter of fact, there was scarcely a town in Italy that did not possess some adept at the art. In Cremona itself there were many who lived almost at the threshold of Stradivarius’ house. Next door to him were the Begonzi family, and adjoining them was the house of Andreas Guarnerius. Then, but a few steps away in the busy square of St Domenico--now the _Piazza Roma_--Ruggieri, Amati, and Storioni had their workshops. They must have been a hardy lot to remain and compete with the gigantic industry and talent of Stradivarius, but they came through the ordeal in some cases grandly. Andreas Guarnerius, for instance, was a steady workman, who made several violoncellos, though nothing calculated to “strike one all of a heap.” One of his best violoncellos was that which was preserved for many years in Mr Gillot’s collection, but even this did not command a higher sum than £73 (including a nameless Italian violoncello), at the sale by auction which took place after Mr Gillot’s death in April 1872. Another violoncello by the redoubtable Andreas belonged to Beethoven’s patron, Prince Joseph Francis Maximilian. This instrument, with several other interesting gambas and lutes, was found in the old chapel of the deserted castle of Prince Lobkovitz in the last days of October, 1872, curiously enough but six months after the sale of Mr Gillot’s Guarnerius. The instrument discovered in the chapel was considered so excellent that it was selected to be shown in the Cremonese section of the Vienna Exhibition in that year. Peter Guarnerius, brother of Andreas’ son Joseph, also worked in Cremona during the latter years of Stradivarius’ life. He made some especially good violoncellos, large and broad in model, with original, well-cut scrolls, and excellent purfling and varnish. He got hold of some grand timber, which he used for the bellies of many of his violoncellos; wood wide in grain, but beautifully even. We saw a handsome violoncello by this maker but a few days ago in the hands of Miss May Fussell, who has employed it for all her concert work since 1894. The tone is full and rich.