Rubinstein shortly made his appearance, and Mills came a little later. I told Rubinstein about my ancient authority, adding that we should be spared the tediousness of a discussion as to the manner of playing. "Let me see the old book," said Rubinstein. Running over the leaves, he came to the illustrations of the mordent. The moment his eyes fell upon them he exclaimed: "All wrong; here is the way I play it," and going to the piano, he played as follows: [Illustration: Musical notation] This is what Marpurg calls a kind of double mordent, or _Doppelschlag_. The three keys are struck almost simultaneously, but the middle one only is held down, while the upper and lower ones are immediately released, thus producing the effect of a turn. The true way of playing the mordent is thus: [Illustration Musical notation] However, we adopted Rubinstein's way without comment. [Illustration: Autograph of Anton Rubinstein] What I have written about Rubinstein and Bach's "Triple Concerto in D Minor" recalls to my mind an occasion when I played it with Mr. Boscovitz and Mme. Essipoff at the latter's last recital here, I think in the year 1876. When, at the rehearsal, we came to discuss the mordents, Essipoff exclaimed: "I cannot play those things; show me how they are done." After repeated trials, however, she failed to get the knack of playing them, as, indeed, so many pianists do, so at the recital she omitted them and left their performance to Boscovitz and me. I think the effect of the concerto was not marred by the omission. The incident just related most not be construed as in any degree a disparagement of Mme. Essipoff's playing; as an artist she belongs easily in the first rank of women players and her style is charming. In taking leave of my old book by Marpurg I present a specimen of advice which he addresses to pianoforte-students, namely: "In regard to deportment and manners [at the pianoforte], one should take care to avoid making faces, bobbing the head, snorting, twisting the mouth, gritting the teeth, and all such ridiculous things. In the absence of the teacher, a pupil who has fallen into such ungainly habits can correct them by means of a mirror placed in front on the music-rack." The foregoing is as honest a translation from the German as I am able to make. Daring a half-century's experience in pianoforte-teaching I do not remember a single case among my pupils of one who stood in need of this advice. A SIGNIFICANT AUTOGRAPH FROM RUBINSTEIN Just before leaving Weimar I had asked Rubinstein to write in my autograph-book, and he immediately complied. The theme, which he wrote in the key of E flat major, is characteristic of him. It is strong and has a vigorous upward movement. It suggests the young man just starting out in life, with the vitality and courage of early manhood. It is dated "Weymar, le 5. Juin, 1854."