To arrive at instances nearer to our own time, let us go at once from the Queen of England to Madame MARA, the Queen of Song. Her first musical studies were directed to the violin. When yet an infant, the little Gertrude Elizabeth Smaling (such was her name) discovered so strong an inclination for the violin, that her father was induced to give her a few lessons on that instrument. Her progress was so rapid, that, as early as her tenth year, she excited the public surprise. It is certain that the development of her vocal powers was not a little aided by this cultivation of an instrument that may be called the friendly rival of the human voice. She herself was known to declare, that, if she had a daughter, she should learn the fiddle before she sang a note; for (as she remarked) how can you convey a just notion of minute variations in the pitch of a note? By a fixed instrument? No! By the voice? No! but, by sliding the fingers upon a string, you instantly make the slightest variations visibly, as well as audibly, perceptible. It was by her early practice of the violin, that this celebrated woman had acquired her wonderful facility of dashing at all musical intervals, however unusual and difficult. She married a violoncellist, of no great capacity, except for drinking. MADDALENA LOMBARDINI SIRMEN, who united to high accomplishment as a singer such an eminence in violin-playing, as enabled her, in some degree, to rival Nardini, had an almost European reputation towards the end of the last century. She received her first musical instructions at the Conservatory of the _Mendicanti_ at Venice, and then took lessons on the violin from Tartini. About the year 1780, she visited France and England. This feminine artist composed a considerable quantity of violin music, a great part of which was published at Amsterdam. A curious document is extant as a relic of the correspondence between this lady and Tartini. It consists of a perceptive letter from the great master, the original of which, along with a translation by Dr. Burney, was published in London in 1771. From this pamphlet, which is now among the rarities of musical literature, I shall here give the Doctor’s English version of the letter: “My very much esteemed “SIGNORA MADDALENA, “Finding myself at length disengaged from the weighty business which has so long prevented me from performing my promise to you, I shall begin the instructions you wish from me, by letter; and if I should not explain myself with sufficient clearness, I entreat you to tell me your doubts and difficulties, in writing, which I shall not fail to remove in a future letter.