The “Witch o’ the Broom” Lancers and Quadrilles by Fabian Rose (Phillips and Page) are as easy as easy to play from sight, so is “The Farmyard” Barn-dance, with a racy title-page for small folk (Phillips and Page), and in a loftier sphere the “Malmaison” Waltz by Caroline Lowthian (Metzler), and “Poppyland” Waltz by Cyril Dare (Cramer). There are four “Characteristic Dances” by H. J. Taylor (Weekes), all of which might be prettily danced in character, the Grecian (No. 2) and the Japanese (No. 4) especially. Some exceedingly facile and effective violin solos are No. 1, “The Children’s Home” of Cowen’s, and No. 10, Canzonetta by C. Borelli, of Morley’s Melodious Gems; “Sunny Memories” and “Good Wishes,” by Henry Tolhurst (Phillips and Page); a “Song Without Words,” by M. Marigold (Novello), and a convenient shilling book (Wickins) containing the beautiful “Träumerei” of Schumann and other choice little pieces for pleasurable performance. “Twelve Carols,” by M. C. Gillington and F. Pascal, are full of interest and of beautiful and original ideas in words and music (J. Williams). MARY AUGUSTA SALMOND. [Illustration: ANSWERS TO CORRESPONDENTS] STUDY AND STUDIO. KATIE ROBERTS.—No apology is necessary in sending your verses, but we fear you would scarcely be able to write anything for publication. The metre of your lines is incorrect; occasionally you begin a verse with a line far too short, _e.g._, “He is, we all know it.” “The Unseen Guest” is the better of the two poems, and we think it is natural to beguile hours when you are not on active duty by expressing these thoughts. It is not the substance but the form that we criticise. You should study the laws of versification. LISA.—We must commend to you the advice contained in the last clause of the preceding answer. If you wish to improve in writing verse, study the laws of metre, which you will find in any good handbook of the English tongue. In “Wait,” the second line is two syllables too long. “Guest” and “bless” do not rhyme.