In these times, when the love of music is rapidly developing itself among all classes, the question of supply must attract notice. The prime question with respect to Violins of the highest character is not now as to price, but as to the supply of limited and daily decreasing material; and the doubtful point is, not whether purchasers are to be found who may not be unwilling to pay the increased cost consequent upon scarcity, but whether the instruments required will be available in sufficient numbers to satisfy the demands of those quite prepared to gratify their wishes for the possession of an instrument of the first rank. A single glance is sufficient to remind us that the list of makers of the highest class, and particularly of original artists, is scanty indeed. There are a few copyists, it is true, notably Lupot and Panormo, whose instruments must take a considerable position, but on the whole the demand will far exceed the supply. The difficulty here noticed is intensified from the fact of the Violin being sought after as it is, unlike any other musical instrument, for the cabinets of the collector as well as for actual use--a state of things perfectly natural when its artistic beauties are considered. Violinists possibly consider they smart under a sense of wrong at the hands of collectors who thus indulge their taste; but, on the other hand, we have reason to be grateful to the lovers of art for having stayed the hand of Time in demolishing these treasures. To return to the subject of this present notice: it is evident that when Montagnana left the workshop of Stradivari, he gave full scope to his creative powers. He at once began to construct upon principles of his own, and thus followed the example of his fellow-worker, Carlo Bergonzi. If comparison be made between the work of Stradivari and that of Domenico Montagnana, with regard to detail, the two makers will not be found to have much in common. It is when Montagnana's instrument is viewed as a whole that the teaching of Stradivari is evidenced. A similar assertion may, in a lesser degree, be made in the case of Carlo Bergonzi. To dissect the several points of difference is a simple matter. If we begin with the outline, that of Montagnana has not the smoothness and grace of the Stradivarian type; the upper and lower curves are flattened, while those of the centre are extended. The sound-hole partakes more of the character of Guarneri; the scroll is larger, and the turns bolder than in the Stradivari form. These, then, may be considered to be the chief points wherein, if viewed as separate items, Montagnana seems to have varied from his master: and hence we may obtain some idea of the amount of originality belonging to this maker--an amount, indeed, not inferior to that of any Cremonese artist that can be cited. The increasing popularity of Montagnana's instruments is sufficient proof that his design was fraught with much that is valuable. In departing from the form of