without missing one. When, after the lapse of an hour, I had selected the six most valuable ones, and was playing upon these alternately, to ascertain which was the best, I perceived that the Doctor cast upon one of them glances especially tender, and that whenever I touched the strings of this one with the bow his face quite brightened up. I, therefore, gladly afforded the good old man pleasure by declaring this instrument to be the most superior one of the whole collection. Highly delighted with this decision, he fetched a viola d'amore and extemporised a fantasia upon this instrument, which has long since gone out of use. I listened with pleasure, because the viola d'amore was at that time unknown to me, and the Doctor proved a by no means bad player. Thus ended the visit to our mutual satisfaction. When I took my hat to leave, the old gentleman, with a kind smile and a deep bow, slipped a five-pound note into my hand. Surprised, I looked at the money and at the giver, not understanding at first what he meant by it; but suddenly it occurred to me that it was intended as a fee for having examined his violins. I smilingly shook my head, laid the paper on the table, pressed the Doctor's hand, and descended the stairs. He followed me to the street-door.... Some months later, when I gave my benefit-concert, the Doctor procured a ticket, for which he sent me a ten-pound note." One of the largest private collections of this kind, more recently formed by an English musical amateur, was sold in London by auction in the year 1872, after the death of its owner, Mr. Joseph Gillott of Birmingham. It contained above 150 instruments played with a bow. Among them were two viola da gambas, by Gaspar di Salo and Barak Norman; a viola d'amore, by Bertrand, Paris, 1614; violins, violas, and violoncellos assigned to Gaspar di Salo, Stradiuarius, Amati, Guarnerius, Testore, Guadagnini, Bergonzi, and other famous makers. If, as occasionally happens, an amateur who considers himself a good judge of old violins is overreached by a dealer who professes to have but little knowledge on the subject, the transaction is simple enough. However, the purchaser of a "splendid Amati," or an "incomparable Stradiuarius," obtained by him at a bargain, might remember that the number of violins manufactured by the famous Cremona makers is limited, and that the history of the specimens still extant is almost as traceable as the pedigree of a prince or of a racehorse. As regards the various lutes, citherns, wind instruments with reeds, etc., which were popular during the last three centuries, many of them are now so scarce as to be unknown, even to professional musicians, except to a few with an archÊological turn of mind.