It may easily be understood, that a reference to books alone does not ensure so thorough an acquaintance with the instruments as is obtainable from a careful examination of the actual specimens which are therein described. Should it interest the musician to restore to its original condition some dilapidated lute or cithern which he may happen to pick up, and to learn to play upon it according to the old method taught in some old book, he will become acquainted with niceties in the construction of the instrument, such as the peculiar arrangement of its pegs, frets, bridge, pins, and other contrivances, which are not to be learnt from books. Such knowledge of details gathered from practical experience, which at a first glance may appear unimportant, is often of great use, since it tends to throw light upon questions of more general interest relating to the history of music. Indeed, in a search after truth, every well-ascertained fact is of importance, since it serves as a solid step for progress. Again, in playing on the lute, harpsichord, or other antiquated instrument the compositions written for it by our old masters, the performer is sure to discover certain charms in the music which cannot be expressed on any modern instrument, and which reveal faithfully the original conceptions of the composer. Take, for instance, Handel's 'Suites de PiËces,' conceived by him for the harpsichord, with its different stops and qualities of sound. In playing them on the pianoforte, the strictly musical beauties can be expressed, and these, it must be granted, constitute the greater charm of the compositions; but many additional beauties, calculated upon the characteristics of the harpsichord, are entirely lost. It does not, of course, therefore follow that musicians ought to learn the harpsichord, lute, or any other antiquated instrument, for which good music has been written. Enough, if these observations convince them that there have been charming musical instruments, as well as charming compositions, in former times, from which valuable hints may be derived for further progress in the inexhaustible art of music.