numbered with the rarities of Luigi Tarisio's collection, and highly valued by him as a specimen of the maker. Among his Violins, the instrument formerly owned by Lord Amherst, of Hackney, is unique; the infancy of the Violin at this period is better seen here than any specimen with which I am acquainted. The Violin of this make which belonged to Ole Bull, and with which I am familiar, is another well-known example. This instrument is characteristic of its author. Its varnish is soft-looking and rich, though paler than usual. The finger-board is inlaid, and is made of a light description of wood. The head is carved and painted, and is a very choice piece of Italian work. SANONI, Giovanni Battista, Verona. About 1740. His instruments are seldom met with in England. High model. SANTO, Giovanni, Naples, 1700-30. Copied Amati. Varnish very hard, and workmanship indifferent. SANZO, Milan. Middle and early eighteenth century. Similar to Grancino. SARDI, ----, Venice, 1649. A broken Violin bearing this name was at the Milan Exhibition, 1881. SEIGHER, Girolamo. Worked in the shop of Niccolo Amati from 1680 to 1682. SELLAS, Matteo, Lute-maker. M. Chouquet, in his "Catalogue Raisonne" of the instruments at the Paris Conservatoire, mentions two Arch-Lutes made by this maker. SERAFINO, Santo, Udine--Venice, 1710-48. Sanctus Seraphin utinensis Fecit Venetijs Ann. 17-- This maker is chiefly famed for the exquisite finish of his workmanship. The modelling of his instruments varied. There are instances, particularly in the case of his Violins, where he has entirely set aside the Stainer form, and copied Amati. These Violins are wonderfully like the work of Francesco Ruggeri. The varnish upon them, of a rich red colour, is of so exceptional a quality, that one is compelled to look twice before being satisfied as to the author. The greater number, however, of his instruments are of the German character, the sound-hole, scroll, and outline all hinting of Stainer. These Venetians were wonderfully fortunate in obtaining handsome wood, and in this respect Santo Serafino was pre-eminent, for his sides and backs are simply beautiful to perfection. His method of cutting the wood was invariably to show the grain in even stripes. The scroll is well cut in point of workmanship, but the style is poor. Santo Serafino cannot be regarded as having displayed originality in any shape, and he thus forms an exception to the great majority of Italian makers. His instruments are either copies of Amati or of Stainer; there is, of course, a strong Italian flavour about his Stainer copies, which lifts them above the German school of imitators, and hence their higher value. Nearly all his instruments were branded with his name above the tail-pin. He used an ornamental label of large size. The Violoncello in the possession of Mr. M. J. Astle is a charming specimen of Serafino's work, I may say unequalled.