Mr. Holland, it seems, has not aspired to distinction as an original composer of music, although he has done something in that line. Of modest pretensions, and rather practical character, he has considered that he could do more for music and the guitar in seeking to make the meritorious compositions of others for other instruments available for guitar practice by skilful arrangements; and in this, his special field of musical labor,--speaking with respect either to the quantity or quality of his works,--he is without an equal in this country: indeed, in certain particulars which will be mentioned hereafter, it will be seen that he has surpassed even the guitar-virtuosos of Europe. His published arrangements for the guitar of the best music composed number more than three hundred pieces, all of them ranking as standard; while with guitar-students, and the principal music-publishers of the day, the name of Holland has been since 1848 as familiar as a household word. It is remarkable, too, that nearly all of this large number of arrangements were made from music sent to Mr. Holland by publishers, with a request that he adapt the same to the guitar. He did not need to sound his own praises. While he quietly worked with his pupils in Cleveland, his fame as a skilful musician was spreading over the country. Soon publishers began to send him orders for arrangements. Such pieces as he had written merely for diversion, or for use with his classes, when it became known that he had them, were eagerly solicited for publication. If the reader will examine the catalogues of the larger music-publishing houses of the country, he will find, that, under the head of Guitar-Music, the name of Holland appears far oftener than that of any other writer. A partial list of his works I have thought of transferring from the publishers' catalogues to the pages of this book; but this, perhaps, is not necessary, nor will space allow it. I will state that his arrangements, with variations, three in number, of "Home, Sweet Home," are considered by competent judges the best adaptations of this immortal air ever made for the guitar. The same opinion is also expressed of his arrangement, with variations, of "The Carnival of Venice." It is a five-page concert-piece, equal to ten or twelve pages of piano-music. Those who love the guitar, or who are desirous of testing the abilities of the author and the correctness of the judgment just given, would do well to procure these two selections: this they can do from any of the music-publishers. Nor is a guitar library complete unless it contains many more of this writer's works; such, for instance, as the following: "Winter Evenings," a collection of fifteen pieces, eight of them with variations; "Flowers of Melody," twenty-three pieces, among which is to be found the charming "Flower-Song" from the opera of "Faust," arranged as a solo; "Gems for the Guitar," twenty pieces; "Summer Evenings," containing an extensive