DE BERIOT, "Le Tremolo." KONTSKI, "La Cascade" (tremolo). PANOFKA, "Le Staccato." PRUME, "Les Arpeges." VIEUXTEMPS, "Les Arpeges." VIEUXTEMPS, 1st Concerto in E (staccato). BAZZINI, "Ronde de Lutins" (saltando staccato). In an earlier section of this work I alluded to the bow as being "tongue-like"; it is something more, for it is also the breath of the violin. As breathing is to a vocalist so is bowing to a violinist. It governs the phrasing, or, rather, is governed by it in the first instance and then controls its delivery to the listener. Thus it will be seen that too much attention cannot be paid to the real Art of Bowing. By which I do not mean the brilliant technical feats of _arpeggio_, _staccato_, _tremolo_, _etc._, but the pure legato bowing of cantabile passages. It is in such song-like movements that the true artist reveals himself by the nearness with which he approaches that highest of all musical instruments, the human voice. Pure liquid tone, the inflexions suggested rather than insisted on, clear phrasing and an avoidance of all extravagance are the hall marks of an artist, and not the possession of brilliant technique alone. To those who are content with superficial glitter electro plate is as good as sterling metal. But critics of discernment (by which I do not mean _all_ those who write concert notices for the daily papers) require something of more lasting value. THE END.