I have reserved the women for the last. A goodly, artistic company. It is not necessary to go back to the Milanolla sisters. We still cherish remembrances of Camilla Urso and her broad musicianly manner; the finished style of Normann-Neruda, Maris Soldat, the gifted and unhappy Arma Senkrah, Nettie Carpenter, Teresina Tua--who did not become a "Fiddle Fairy" when she visited us in 1887--Leonora Jackson, Dora Becker, Olive Mead, and Maud Powell. In Europe many years ago, I heard Marcella Sembrich, who, after playing the E Flat Polonaise of Chopin on the piano, picked up a violin and dashed off the Wieniawski Polonaise; these feats were followed by songs, one being Viardot-Garcia's arrangement of Chopin's D Major Mazourka. Sembrich is the blue rose among great singers. Gericke, Paur, Nikisch were at first violinists; so was Fritz Scheel, late conductor of the Philadelphia Symphony Orchestra. Franz Kneisel is a conductor of great skill; so is Frederick Stock, who followed Theodore Thomas as conductor of the Chicago Symphony Orchestra. Theodore Spiering formerly concert-master of the Philharmonic orchestra proved himself an excellent conductor. But that a little Polish woman could handle with ease two instruments and sing like an angel besides, borders on the fantastic. Geraldine Morgan is an admirable violin artiste who plays solo as well as quartet with equal authority. Maud Powell has fulfilled her early promise. She is a mature artiste, one who will never be finished because she will always study, always improve. A Joachim pupil, she is, nevertheless, a pupil of Maud Powell, and her playing reveals breadth, musicianship, beauty of tone and phrasing. She is our greatest American violin virtuosa.