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In Thibet, and other Asiatic countries in which the Buddhist religion is established, variously-constructed musical instruments are generally deposited in a certain part of the temple, to be at hand for the priests when required in ceremonies and processions. In examining the Assyrian bas-reliefs in the British Museum, we are led to surmise that a similar custom prevailed in Western Asia before the Christian era. At any rate, it appears probable that the various instruments represented in the hands of musicians who assisted in religious rites observed by the king were usually deposited in a room appropriated to their reception. The same appears to have been the case in the Temple of Jerusalem. King David had, it is recorded, musical instruments made of a wood called berosh, which afterwards, under the reign of Solomon, were made of algum, or almug, a more precious wood imported from foreign districts. King Solomon, being in possession of superior instruments, probably preserved the inferior ones of his father as venerated memorials; and the kinnor upon which David played before Saul may have been as carefully guarded by King Solomon as the Emperor of Germany guards in his cabinet of curiosities the flute of Frederick the Great.

Howbeit, Josephus records that Solomon had made for the musical performances at the dedication of the Temple a large number of stringed instruments and trumpets, all of which were kept together in the Temple with the treasures. It is not likely that at so early a period collections of antiquated instruments were formed for any scientific purpose; the art of music was too much in its infancy to suggest the preservation of evidences elucidating its gradual development.

The collections of ancient and scarce musical instruments which, in modern time, have been made in several European countries are very interesting to the lover of music, although they have, in most instances, evidently been formed less with the object of illustrating the history of the art of music than for the purpose of preserving curious and tasteful relics of bygone time, or of exhibiting characteristic contrivances of foreign nations.

In Italy some of the Conservatories of Music possess antiquated instruments of great rarity. Curious old spinets, lutes, mandolines, and guitars, are said to be found dispersed among private families and in convents, especially in Naples and its vicinity. In the Liceo Comunale di Musica, at Bologna, are deposited above fifty instruments, among which are an Italian cither (cetera) of the beginning of the sixteenth century; an archlute by "Hieronymus Brensius, Bonon" (Bologna); a chitarrone, by "Matteo Selles, alla Corona in Venetia, 1639;" a chitarrone inscribed "In Padova Uvendelio Veneto, 1609;" a theorbo by "Hans Frei in Bologna, 1597;" a lute by "Magno Stegher in Venetia." A lute, "Magno Dieffopruchar a Venetia, 1612." This lute has fourteen strings arranged in seven pairs, each pair being tuned in unison. Several marine trumpets, one of which bears the inscription, "Pieter Rombouts, Amsterdam, 17." A viola da gamba, inscribed "Antonius Bononiensis." A sordino, or pochette, by "Baptista Bressano," supposed to date from the end of the fifteenth century. Its shape is peculiar, somewhat resembling that of the Portuguese machête, representing a fish. A viola d'amore, with the inscription "Mattias Grieser, Lauten and Geigenmacher in Insbrugg, Anno 1727;" two curious old harps; an old tenor flute, measuring in length about three feet; some curious double flutes; cornetti, or zinken, of different dimensions. An archicembalo. This is a kind of harpsichord with four rows of keys, made after the invention of Nicolo Vicentino, and described in his work "L'Antica Musica ridotta alla moderna prattica. Rome, 1555." The compass of this archicembalo comprises only four octaves; but each octave is divided into thirty-one intervals, forming in all one hundred and twenty-five keys. It was made by Vito Trasuntino, a Venetian, who lived towards the end of the sixteenth century, and who added a tetracordo to it, to facilitate the tuning of its minute intervals. However, the archicembalo was probably not the first instrument of the harpsichord kind which contained an enharmonic arrangement of intervals. The clavicymbalum perfectum, or Universal-clavicymbel, which Prætorius states he saw in Prague, and which was likewise made in the sixteenth century, was of a similar construction. One of the most singular instruments in the collection of the Liceo Comunale de Musica at Bologna is the cornamusa, which consists of five pipes inserted into a cross-tube, through which they are sounded. Four of the pipes serve as drones; and the fifth, which is the largest, is provided with finger-holes, like the chanter of a bagpipe. The instrument has, however, no bag, although it is probably the predecessor of the species of bagpipe called cornamusa.

Instruments played with a bow of the celebrated Cremona makers are at the present day more likely to be met with in England than in Italy. In the beginning of the present century Luigi Tarisio, an Italian by birth, and a great connoisseur and collector of old violins, hunted over all Italy and other European countries for old fiddles. To avoid the high custom dues which he would have had to pay on the old instruments, he took them all to pieces, as small as possible, and carried the bits about him in his pockets and in a bag under his arm. So thoroughly was he acquainted with his acquisitions that, having arrived at the place of his destination, he soon restored them to their former condition, assigning to each fragment its original position. Tarisio made his first appearance in Paris, in the year 1827, with a bag full of valuable débris from Italy; and he continued his searches for nearly thirty years. During this time he imported into France most of the beautiful violins by Antonius Stradiuarius, Joseph Guarnerius, Bergonzi, Montagnana, and Ruggeri, which are of highest repute, and the greater number of which have afterwards found their way into England.

In Germany we meet with several collections of interest. The Museum of Antiquities, at Berlin, contains, among other musical curiosities, well-preserved lyres which have been found in tombs of the ancient Egyptians. The Gesellschaft der Musikfreunde ("Society of Lovers of Music"), at Vienna, possesses a collection of antiquated instruments, among which are noteworthy: a viola di bardone by Jacobus Stainer, 1660; a viola di bardone by Magnus Feldlen, Vienna, 1556; a viola di bardone by H. Kramer, Vienna, 1717; a viola d'amore by Weigert, Linz, 1721; a viola d'amore by Joannes Schorn, Salzburg, 1699; a tromba marina (marine trumpet) by J. Fischer, Landshut, 1722; a lute by Leonardo Tieffenbrucker, Padua, 1587; a theorbo by Wenger, Padua, 1622; a theorbo by Bassiano, Rome, 1666; a Polish cither by J. Schorn, Salzburg, 1696; a large flute made in the year 1501; an old German schalmey (English shalm or shawm) by Sebastian Koch; an old German trumpet by Schnitzer, Nürnberg, 1598; an oboe d'amore, made about the year 1770, etc.

A curious assemblage of scarce relics of this kind is also to be found in the Museum of the Germanic Society at Nürnberg. The most noteworthy specimens in this collection are: two marine trumpets, fifteenth century; a German cither with a double neck (bijuga-cither) sixteenth century; a German dulcimer (hackbret), sixteenth century; a lute by Michael Harton, Padua, 1602; a viola da gamba by Paul Hiltz, Nürnberg, 1656; a viola d'amore, with five catgut strings, and eight sympathetic wire strings, seventeenth century; an arpanetta (harpanetta, German spitzharfe) mounted on one side with brass wire, and on the opposite side with steel wire, sixteenth century; a clavecin with finely painted cover, by Martinus van der Biest, Antwerp, 1580; two German zinken (cornetti) sixteenth century; two specimens of the bombardo, viz., a German alt-pommer and tenor-pommer, by J. C. Denner, seventeenth century; some specimens of the cormorne (German krummhorn) of the sixteenth and seventeenth centuries; a trumpet made by J. C. Kodisch, Nürnberg, anno 1690; a splendid brass trombone (German bass-posaune) ornamented with the German eagle and imperial crown, made by Friedrich Ehe, in Nürnberg, anno 1612; a Polish bagpipe, seventeenth century; a syrinx of reeds covered with black leather, sixteenth century; eight military pipes, made by H. F. Kynsker, in Nürnberg, seventeenth century; a small portable organ (regal) with two rows of keys, sixteenth century. The regal has become very scarce. There are only a few specimens known to be in existence; one, of the sixteenth century, is in the possession of the Chanoinesses de Berlaimont, at Brussels; another, made about the middle of the seventeenth century, belongs to the Duke of Athol, and is at Blair Athol, in Scotland; another, which belongs to Mr. Wyndham S. Portal, Malshanger, Basingstoke, is in the shape of a book, and its pipes have reeds, or vibrating tongues of metal. This regal, which probably dates from the sixteenth century, is of the kind which was called in German Bibelregal, because it resembles a Bible in appearance.

Old musical instruments are generally so fragile, and were formerly thought so little of when they came out of use, that it is perhaps not surprising to find of those dating from a period earlier than the sixteenth century very few specimens, and these have generally been altered, and it is seldom that they have been properly restored to their original condition. As an instance how valuable specimens are gradually becoming more and more scarce, may be mentioned the interesting collection of obsolete German harps, pipes, and trumpets, dating from a period anterior to the year 1600, which was preserved in the Town Library of Strassburg, and which, at the recent bombardment of the town, was reduced to ashes. It contained, among other curiosities: a cornetto curvo; some specimens of the cornetto dritto; a flauto dolce. Several specimens of the bombardone, the predecessor of the bassoon; a dulcinum fagotto; two specimens of the cormorne, an oddly-shaped wind instrument belonging to the shalm or oboe family. An arpanetta. This instrument, called in German spitzharfe or drathharfe, is especially interesting, inasmuch as it resembles the old Irish harp called keirnine, which was of a similar form, and which was also strung with wire instead of catgut. There is such a harp extant in the museum of the Society of Lovers of Music, at Vienna, before-mentioned.

If the lumber-rooms of old castles and mansions in Germany were ransacked for the purpose, some interesting relics of the kind would probably be brought to light. In the year 1872 Dr. E. Schebeck, of Prague, was requested by Prince Moriz Lobkowitz to examine the musical instruments preserved in Eisenberg, a castle of the Prince, situated at the foot of the Erzgebirge, in Bohemia. Most of them had formerly been used in the private orchestra kept by Prince Josef Franz Maximilian Lobkowitz, the well-known patron of Beethoven, to whom the composer has dedicated some of his great works. The present Prince Lobkowitz, who seems to have inherited his parent's love for music, wished to have an examination of the instruments, with the object of making a selection of the most interesting ones for the great Vienna Exhibition in 1873. Dr. Schebeck found, among other rarities, violins by Gaspar di Salo, Amati, Grancino, Techler, Stainer, and Albani; a violoncello by Andreas Guarnerius; a scarce specimen of a double-bass by Jacobus Stainer; two precious old lutes by Laux Maler, who lived at Bologna during the first half of the fifteenth century; a lute, highly finished, and apparently as old as those of Laux Maler, with the inscription in the inside "Marx Unverdorben a Venetia;" a lute, with the inscription "Magno Dieffoprukhar a Venetia, 1607." There can be no doubt that we have here the Italianised name of the German Magnus Tieffenbrucker, who lived in Italy.[5]

Fortunately for musical antiquarians the collection of rare instruments in the Conservatoire de Musique at Paris has been preserved uninjured during the recent disasters in that city. Among the instruments may be noticed, a small and beautiful musette with drones of ivory and gold, which belonged to Louis XIII.; a German regal, or portable organ, sixteenth century; a pochette by Stradiuarius; a courtaud, an early kind of bassoon, dating from the fifteenth century; several bass-flutes, and other rare old wind instruments; Boïeldieu's pianoforte; Grétry's clavichord; a "Trumpet of Honour," which was made by order of Napoleon I., and which has the name of "T. Harper" engraven on its silver rim. M. Victor Schœlcher has presented to the Conservatoire de Musique about twenty rather primitive instruments of uncivilised nations obtained by him during his travels in Western Africa and South America, among which may be noted several Negro contrivances of the harp and guitar kind.

An interesting catalogue of the instruments in the Musée du Conservatoire National de Musique has recently been published by Gustave Chouquet, the curator of the museum. It comprises 630 instruments, or portions of instruments, each fiddle-bow, mute, etc., being separately numbered. On the whole, the Paris collection, though large, is far less valuable than that of the South Kensington Museum.

One of the most valuable private collections ever formed of ancient musical instruments was that of M. Louis Clapisson in Paris. During a course of more than twenty years M. Louis Clapisson succeeded in procuring a considerable number of scarce and highly decorated specimens of instruments of the Middle Ages and the Renaissance. The collection has been dispersed since the death of its owner; a large portion of it is now incorporated with the collection of the Conservatoire de Musique at Paris, and some of its most valuable specimens were secured for the South Kensington Museum. It was, however, so unique that the following short survey of its contents will probably be welcome to the archæological musician.

Clapisson's collection comprised (according to the catalogue of its contents which was published in French, and which is now scarce) 167 instruments. Among them are especially noteworthy:—A clavecin (or harpsichord) with two rows of keys, dated 1612; embellished with paintings which date from the time of Louis XIV. In front is a painting by Teniers, and in the inside are some fine paintings by Paul Brill. An Italian spinet of the time of Louis XIV., embellished with paintings of garlands of flowers, cupids, etc., attributed to Poussin. The fine carving and the ornamentation of engraved amber on this spinet give it a stamp of originality. An Italian spinet, bearing the inscription "Francisci di Portalvpis Veronen opus, 1523," of ebony inlaid with ivory. An Italian spinet of the sixteenth century, ornamented with marquetry of various coloured woods. The corners of the key-board are adorned with caryatides finely carved in box-wood. A travelling spinet made in the shape of a mail-trunk dating from the time of Henri II. It is signed "Marins," which is the name of a celebrated manufacturer of that period. A clavecin made in France in the year 1657, ornamented with paintings and with marquetry of ivory, with the arms of the family of Pierre di Dreux (called Mauclere), Duke of Bretagne, who lived about the year 1250. An Italian dulcimer of wood carved and gilt, dating from the seventeenth century. It is tastefully inlaid with slips of silvered glass. A French dulcimer of the time of Louis XIV., with twisted columns of wood carved and gilt, and with paintings of flowers and birds. A French dulcimer, or timpanon, of the time of Louis XIII., ornamented with roses neatly carved in wood. The instrument is in a case, which is ornamented with paintings and inlaid slips of silvered glass. A French dulcimer of carved wood, ornamented with slips of engraved Venetian glass, with turquoises, and with paintings on Vernis Martin. A sonorous stone from China, in the form of a fish. A French harp, of the time of Louis XV., gilt and carved with flowers and paintings in relief. A harp of the time of Louis XVI., having belonged to the Princesse de Lamballe, whose name is engraven on it. It is finely painted with medallions on Vernis Martin. A theorbo of the time of Louis XIII., inlaid with designs in ivory. Engraven on it is the coat of arms of the House of Austria; also a portrait, and the device Non omnes. A French guitar made, according to an inscription, by Voboam, a celebrated lute-maker at the court of Louis XIV. It is made in the figure of a tortoise, the body being of tortoise-shell, and the head, feet and tail of coloured enamel. A French guitar of the time of Louis XIII., inlaid with ivory, on which are engraven subjects of the chase. A French guitar of the time of Louis XIII., inlaid with ivory engraved with mythological subjects. An Italian mandoline of citron-wood inlaid with mother-of-pearl, engraven with figures. An Italian mandoline, ornamented with marquetry, mother-of-pearl, and carving; assigned to Stradiuarius. A French mandoline of the time of Louis XVI., with the arms of the Dauphin inlaid with mother-of-pearl. A small Italian mandoline with three strings. A mandora of the time of Henri II., inlaid with broad strips of ivory, and with fleurs de lys in ebony. A French hurdy-gurdy (or vielle) of the time of Louis XIV., made of box-wood and citron-wood, carved, and ornamented with medallions of mother-of-pearl and with turquoises; formerly the property of Madame Adelaïde. A French hurdy-gurdy by Louvet, dated 1750; tastefully ornamented. A small hurdy-gurdy for the use of ladies, made in France during the period of Louis XVI. This vielle, elegant in form and tastefully inlaid with ivory, bears the inscription "Delaunay." A Hungarian violin, made in Presburg, inlaid with marquetry of various coloured woods. A small violin by Jacobus Stainer, inlaid with ornaments in silver, including the coat of arms of France; with a finely-carved head of a faun. A French quinton, or five-stringed viol, made by Guersan, in 1755. A viola da gamba, with a finely-carved head representing an angel bandaging the eyes of a female. A small viola da gamba of the kind on which the French ladies used to play at the time of Louis XIII. A pochette by Stradiuarius, known to be genuine. A pochette of the sixteenth century, of engraved ivory and ebony, inlaid with precious stones. A pochette of ivory and coloured woods, dating from the period of Louis XIII., and bearing the inscription "Marins." A crystal flute, the invention of Laurent; silver keys enriched with amethysts. A small Italian double-flute of ivory, made by Anciuti in Milan, anno 1722. An oboe of ivory, carved by Anciuti in Milan, beginning of the eighteenth century. A French oboe of ebony, inlaid with ivory, tortoise-shell, and enriched with gold and precious stones; of the time of Louis XIII. A small French oboe of the time of Louis XIV., made of ivory, with three silver keys. A French musette (a species of bagpipe with bellows); the pipes of ivory; twenty-one silver keys; the bag ornamented with embroidery in gold. This fine musette dates from the period of Louis XV. A small French musette of ivory, with silver keys, having belonged to the painter Vanloo. A cornemuse bretonne (bagpipe of Brittany) of the time of Louis XIII. A trumpet of the time of Henri IV., ornamented with embossed fleurs de lys and with the portrait of Henri IV., surrounded by butterflies. A serpent of the sixteenth century, made of wood, with the carved head of a demon finely executed.

Turning to Belgium, we again meet with some interesting collections. M. Fétis, the well-known musician, had a number of Eastern instruments procured from Egypt, to enable him to familiarise himself with the Arabic tonal system, which essentially differs from our own, but which undoubtedly is of much higher antiquity, and therefore of particular interest to the musical historian. After the death of Fétis, his collection was purchased by the Belgian Government. Dr. Burney, who visited Antwerp in the year 1772, records in his journal that he saw in a public edifice of the town, called Oosters Huys, a large number of wind instruments of a peculiar construction. "There are," he says, "between thirty and forty of the common flute kind, but different in some particulars—having, as they increase in length, keys and crooks, like hautbois and bassoons. They were made at Hamburg, and all of one sort of wood, and by one maker, 'Casper Ravchs Scratenbach,' was engraved on a brass ring or plate, which encircled most of these instruments. The large ones have brass plates pierced, and some with human figures well engraved on them. These last are longer than a bassoon would be if unfolded. The inhabitants say that it is more than a hundred years since these instruments were used, and that there is no musician at present in the town who knows how to play on any one of them, as they are quite different from those now [in the year 1772] in common use. In times when commerce flourished in this city these instruments used to be played on every day by a band of musicians, who attended the merchants trading to the Hanse Towns in procession to the Exchange."

No doubt there are some curious old harpsichords and lutes still to be found in Belgium and in the Netherlands—countries in former times distinguished for the cultivation of the art of music. Besides, the connection of the Netherlands with Asia has facilitated the acquisition of curious instruments from the East, a number of which may be seen deposited in the Museum at the Hague.

A glance at a collection made by a musical amateur, during the seventeenth century, is sure to interest the musical antiquarian. The collector, Jean-Baptiste Dandeleu, a man of position and property in Brussels, died in the year 1667. Among his effects were the following instruments, the list of which is here literally transcribed as it was written at the time of his decease:—"Une orgue, que l'on dit avoir appertenu à feu l'archiduq (de glorieuse mémoire), et couste trois milles florins.—Une espinette organisée.—Un coffre dans lequel y a neuf violes de gambes d'accord.—Encor une vieille viole de gambes.—Six corps de luths ou thiorbes dans des vieilles caisses.—Une mandore aussy dans sa caisse.—Une autre petit instrument en forme de poire avec le col rompu, ou decollé.—Une caisse doublée de baye rouge, dans la quelle y a six fluttes rares d'accord, qui sont de bouys, avec leurs escorces et noeuds.—Une cornette noire de musique.—Encore une flûte de bouys de la longueur d'environ un pied dans une caisse noire.—Trois caisses avec diverses flûtes de bouys grandes et petites d'accord, entre les quelles aucunes manquent.—Encor six flûtes semblables, que l'on croid estre celles qui manquent cy-dessus.—Encor une grande flûte, ou pippe noire.—Un violon dans sa caisse.—Un cistre aussy dans sa caisse.—Un instrument rare pour sa structure à mètre les livres des musiciens dessus pour un concert de musique.—Cincq petits lesseniers."

Most of the instruments in this collection were undoubtedly manufactured about the period in which they are mentioned. However, as regards lutes and viols, preference was given already as early as the seventeenth century to old ones, if they were the work of good makers. Thus, the lutes of Laux Maler, dating from the beginning of the fifteenth century—"pittifull old, batter'd, crack'd things," as Thomas Mace calls them in his 'Musick's Monument,' London, 1676—fetched as much as a hundred pounds apiece. "I have often seen," Mace remarks, "lutes of three or four pounds price far more illustrious and taking to a common eye. … First know that an old lute is better than a new one." Thus also with viols: "We chiefly value old instruments before new; for by experience they are found to be far the best." The improvement by age he reasonably attributes to the circumstance that "the pores of the wood have a more and free liberty to move, stir, or secretly vibrate; by which means the air—which is the life of all things, both animate and inanimate—has a more free and easie recourse to pass and repass."

An interesting collection of antiquated musical instruments has been made by M. César Snoeck, of Renaix, in Belgium. It comprises among other rarities:—A small virginal bearing the inscription: "Paulus Steinicke me fecit, Anno 1657." A harpanetta, seventeenth century. A cetera or Italian cither, seventeenth century. The top terminates in a finely-carved figure, and the body is flattened towards the lower end. This interesting instrument is of the kind which the Italian improvisatori used for accompanying the voice. An assemblage of specimens, varying in size, of the German, or perhaps Dutch, zinken. These quaint-looking flute-trumpets, although blown through a mouth-tube somewhat similar to that of the trumpet, have finger-holes like a flute. They probably were made about the year 1700. A tenor-flute and three bass-flutes, probably of the seventeenth century.

The municipality of Ghent, in Belgium, possesses silver trumpets which were made in the fifteenth century. It will be remembered from the biblical records (Numbers, x., 2) that Moses constructed two trumpets entirely of silver. Neither was the use of the trumpet for strategical purposes unknown to the Hebrews, as is evidenced by Gideon's employment of the instrument (Judges, vii.). There is an old German treatise, quaintly entitled 'Versuch einer Anleitung zur heroisch-musikalischen Trompeter-und Pauker-Kunst' ("An Attempt at a Guide to the heroic-musical Art of the Trumpeter and the Kettle-Drummer"), written by Johann Ernst Altenburg, Halle, 1795, which contains some interesting accounts concerning the various occasions on which the trumpet was formerly used in different European countries, at Court ceremonies and public festivities, as well as in war. Altenburg, who himself was a distinguished military trumpeter, and, no doubt, also a brave warrior, remarks: "Awful and terrible is the sound of the trumpet when it announces the near approach of the enemy; or when the enemy demands by trumpet-signal the surrender of a beleaguered town; or when he storms and enters the town with the blare of the trumpet of war! Likewise, the signal of alarm produces an uneasy impression upon a weaker corps when surprised and surrounded by a stronger corps. However, by means of this uncommon music, which has been made use of by many as a stratagem in olden time and at the present day, often important conquests have also resulted. During the Seven Years' War, in which I took part, it happened during a dark night that a large body of the enemy's troops nearly succeeded in surprising and cutting off one of our corps which was much smaller and weaker; but we, modifying the signals of our trumpets so as to make them appear to come from different quarters and from long distances, succeeded in intimidating the enemy, so that he suddenly turned and fled, believing that we were receiving succour."

This may be the place to notice a fine collection of old trumpets in the possession of Prince Charles of Hohenzollern-Sigmaringen. They were made by Johann Leonard Ehe, in Nürnberg; Hieronymus Stark, in Nürnberg, anno 1669; Christopher Frank, Magnus Wolf, Wilhelm Haas, anno 1688.

Passing over the Royal Museum of Northern Antiquities at Copenhagen, which contains highly curious specimens of the old Scandinavian brass trumpet called lure—especially interesting if compared with the bronze trumpets of mediæval time excavated from bogs or mosses in Ireland, and now preserved in the Museum of the Royal Irish Academy at Dublin—we now proceed to a cursory survey of the musical antiquities in the museums of London.

The British Museum possesses several instruments, or fragments of instruments, of the ancient Egyptians, Greeks, and Romans, and old Celtic trumpets which have been found in Ireland. In the ethnological department of the British Museum are particularly noteworthy:—The specimens of Chinese instruments brought over to England by Mr. Tradescant Lay; those from Siam, obtained by Sir John Bowring; those from Java, obtained by Sir Stamford Raffles; a considerable number of flutes, including nose-flutes, and of trumpets, from Otaheite, Tongataboo, and New Zealand; well-preserved drums from the Polynesian Islands; serpent-headed drums of the natives of New Guinea; Negro instruments from Western Africa, etc.

The Museum of the East India House, in London, contains upwards of 120 musical instruments, mostly from Hindustan and Burmah, some of which are very fine, but many are out of repair. An assemblage of curious pipes, trumpets, and drums of the Polynesians, as well as fiddles of the Hottentots and Kafirs in Southern Africa, may be seen in the Museum of the London Missionary Society. Furthermore, the Botanical Museum at Kew possesses several interesting contrivances of this kind, made of peculiar species of wood by Indian tribes in South America.

The collection of musical instruments belonging to the South Kensington Museum is now, as far as is known, the most comprehensive in existence. The latest edition of its catalogue, published in the year 1874, describes 353 instruments, of which 246 belong to the Museum, and 107 are on loan. The catalogue contains 143 wood-engravings and six photographs of instruments, and is preceded by an essay on the history of musical instruments. A glance at its comprehensive index will perhaps convey to the reader the impression that it takes cognizance of almost every musical instrument in the world. This is, however, by no means the case. Even an account of all our own instruments in use at the present day would fill a large volume. But, endeavour has been made to render the catalogue as comprehensive as is consistent with its object, and the reader will find in it illustrations and descriptions of most of the instruments mentioned in the present essay.

There have been some curious lists preserved of musical instruments which belonged to English amateur musicians, and which were sold, after the death of the owner, at public auctions.

The collection of musical instruments which belonged to King Henry VIII. appears to have been remarkably comprehensive and valuable. An inventory of its contents was compiled by Philip van Wilder, a Dutch lute-player in the service of the king. The manuscript of this inventory is preserved in the British Museum. Among the instruments entered are:—Two paier of clavicordes.—A payre of new long virginalls made harp-fashion, of Cipres, with keys of ivory, having the King's arms crowned and supported by His Grace's beastes within a garter gilt, standing over the keys.—Gitterons which are called Spanish vialles.—Flutes called Pilgrims' staves.—A great base recorder. Two base recorders of walnut. Pipes of ivory or wood, called cornets.

In 'The History and Antiquities of Hengrave, Suffolk, by John Gage, London, 1822,' are recorded among the effects of Sir Thomas Kytson of Hengrave Hall, about the year 1600:—Six viols in a chest. Six violins in a chest. Lutes. Citterns. Bandoras. Seven recorders in a case. Hautboys. A curtall. Cornets. A lezarden. A pair of little virginals. A pair of double virginals. A wind-instrument like a virginal. A pair of double organs.

The "curtall" was probably the French courtaud mentioned previously, page 37; and the "lezarden" was probably similar to the serpent, an old wind-instrument mentioned in page 41.

Among the English private collections about two centuries ago deserves to be noticed one which was formed by Thomas Britton, the small-coal man. This extraordinary musical amateur, born in the year 1656 of poor parents in Northamptonshire, set out for London while still a lad to gain his living. After various vicissitudes he succeeded in his project by becoming a seller of small-coal. During the day he wandered through the streets carrying a sack of coals on his back, and crying them for sale. In the evening he practised his viol, and studied the theory of music. Moreover, he was as fond of studying chemistry as he was of making music. The library of books and musical compositions which he collected from second-hand book-stalls, in his peregrinations through the streets during a period of thirty-six years, was extensive, considering his position. A list of his music-books is given in Hawkins's 'History of Music.' Thomas Britton lived in Aylesbury Street, Clerkenwell, in a hired stable converted into a dwelling-house. The ground-floor he used for the repository of his small-coal; and the room above—a long and narrow space, with a ceiling so low that a tall man could but just stand upright in it—was his concert-room. Here the best musicians in London—among them Dr. Pepusch, Matthew Dubourg, the violinist, who at that time was a little boy, and Handel, during the last four years of Thomas Britton's life—were glad to perform. The fine concerts and the estimable character of Thomas Britton became soon more generally appreciated; his concerts, given gratuitously, attracted a genteel audience, among whom might be seen dukes, lords, and other persons of rank and wealth. The musical instruments of this great small-coal man, which were sold by public auction after his death in 1714, are entered in the catalogue of the sale as follows:—"A fine guitar in a case. A good dulcimer. Five instruments in the shape of fish. A curious ivory Kitt and bow in case. A good violin by Ditton. Another very good one. One said to be a Cremona. An extraordinary Rayman. Three others ditto. One very beautiful one by Claud Pieray of Paris, as good as a Cremona. One ditto. Another very good one. Another ditto. A very good one for a high violin. Another ditto. An excellent tenor. Another ditto by Mr. Lewis. A fine viol by Baker of Oxford. Another excellent one, bellied by Mr. Norman. Another, said to be the neatest and best that Jay ever made. A fine bass violin, new-neck'd and bellied by Mr. Norman. Another rare good one by Mr. Lewis. A good harpsichord by Philip Jones. A Rucker's virginal, thought to be the best in Europe. An organ of five stops, exactly consort pitch, fit for a room, and with some adornments may serve for any chapel, being a very good one."

The "five instruments in the shape of fish" were, probably, specimens of the machête, a small kind of guitar made in Portugal and Madeira, and occasionally brought to England as a curiosity. However, the pochette also was sometimes made in the shape of a fish. As regards the instrument-makers mentioned in Britton's list, suffice it to state that Jacob Rayman, who lived in Southwark about the year 1640, enjoyed a reputation especially as a maker of fine violas, and that Edward Lewis, who lived in London about the year 1700, was a distinguished violin-maker. Barak Norman in London, Henry Jay in Southwark, and John Baker in Oxford, were distinguished viol-makers of the seventeenth century.

Some fine collections made in the present century by English gentlemen consisted almost entirely of Italian violins, violas and violoncellos. It is but natural that the possessor of real or supposed works of art should feel particularly gratified when he finds them admired by persons whose judgment he has reason to esteem. Louis Spohr, in his 'Autobiography,' describes a visit which he paid to an enthusiastic musical dilettante and collector of violins, in London, in the year 1820. Spohr had come over from Germany to England to give concerts, and was unacquainted with the English language. He relates: "One morning a livery-servant brought me a note containing the words: 'Mr. Spohr is requested to call upon the undersigned to-day at four o'clock precisely.' As the name of the writer was unknown to me, I answered in the same laconic manner: 'I am engaged about that time, and cannot come.' On the following morning the servant in livery brought another note, much more politely written: 'Mr. Spohr is requested to favour the undersigned with the honour of a visit, and to fix himself the time when it will be convenient for him to come.' The servant had also been desired to offer me the use of his master's carriage, and as I had meanwhile ascertained that the gentleman was a celebrated physician who habitually frequented concerts, and who took special interest in violin performances, I no longer hesitated to accept his invitation. At the time fixed by me the carriage arrived, and I drove to his house. A courteous old man, with gray hair, met me already on the stairs; but now we discovered that we could not talk together, as he spoke neither French nor German. We stood for a moment embarrassed face to face, till he took me by the arm and led me into a large room, on the walls of which were hung a great number of violins. Other violins had been taken out of their cases and were placed on the tables. The Doctor gave me a violin-bow and pointed to the instruments. I now perceived that he desired to have my opinion as to the value of his fiddles. I, therefore, began at once to try one after the other, and to arrange them in a certain order, according to their merit. This was no easy task; for, there were so many, and the old gentleman brought all of them to me without missing one. When, after the lapse of an hour, I had selected the six most valuable ones, and was playing upon these alternately, to ascertain which was the best, I perceived that the Doctor cast upon one of them glances especially tender, and that whenever I touched the strings of this one with the bow his face quite brightened up. I, therefore, gladly afforded the good old man pleasure by declaring this instrument to be the most superior one of the whole collection. Highly delighted with this decision, he fetched a viola d'amore and extemporised a fantasia upon this instrument, which has long since gone out of use. I listened with pleasure, because the viola d'amore was at that time unknown to me, and the Doctor proved a by no means bad player. Thus ended the visit to our mutual satisfaction. When I took my hat to leave, the old gentleman, with a kind smile and a deep bow, slipped a five-pound note into my hand. Surprised, I looked at the money and at the giver, not understanding at first what he meant by it; but suddenly it occurred to me that it was intended as a fee for having examined his violins. I smilingly shook my head, laid the paper on the table, pressed the Doctor's hand, and descended the stairs. He followed me to the street-door. … Some months later, when I gave my benefit-concert, the Doctor procured a ticket, for which he sent me a ten-pound note."

One of the largest private collections of this kind, more recently formed by an English musical amateur, was sold in London by auction in the year 1872, after the death of its owner, Mr. Joseph Gillott of Birmingham. It contained above 150 instruments played with a bow. Among them were two viola da gambas, by Gaspar di Salo and Barak Norman; a viola d'amore, by Bertrand, Paris, 1614; violins, violas, and violoncellos assigned to Gaspar di Salo, Stradiuarius, Amati, Guarnerius, Testore, Guadagnini, Bergonzi, and other famous makers.

If, as occasionally happens, an amateur who considers himself a good judge of old violins is overreached by a dealer who professes to have but little knowledge on the subject, the transaction is simple enough. However, the purchaser of a "splendid Amati," or an "incomparable Stradiuarius," obtained by him at a bargain, might remember that the number of violins manufactured by the famous Cremona makers is limited, and that the history of the specimens still extant is almost as traceable as the pedigree of a prince or of a racehorse. As regards the various lutes, citherns, wind instruments with reeds, etc., which were popular during the last three centuries, many of them are now so scarce as to be unknown, even to professional musicians, except to a few with an archæological turn of mind.

It may easily be understood, that a reference to books alone does not ensure so thorough an acquaintance with the instruments as is obtainable from a careful examination of the actual specimens which are therein described. Should it interest the musician to restore to its original condition some dilapidated lute or cithern which he may happen to pick up, and to learn to play upon it according to the old method taught in some old book, he will become acquainted with niceties in the construction of the instrument, such as the peculiar arrangement of its pegs, frets, bridge, pins, and other contrivances, which are not to be learnt from books. Such knowledge of details gathered from practical experience, which at a first glance may appear unimportant, is often of great use, since it tends to throw light upon questions of more general interest relating to the history of music. Indeed, in a search after truth, every well-ascertained fact is of importance, since it serves as a solid step for progress.

Again, in playing on the lute, harpsichord, or other antiquated instrument the compositions written for it by our old masters, the performer is sure to discover certain charms in the music which cannot be expressed on any modern instrument, and which reveal faithfully the original conceptions of the composer. Take, for instance, Handel's 'Suites de Pièces,' conceived by him for the harpsichord, with its different stops and qualities of sound. In playing them on the pianoforte, the strictly musical beauties can be expressed, and these, it must be granted, constitute the greater charm of the compositions; but many additional beauties, calculated upon the characteristics of the harpsichord, are entirely lost. It does not, of course, therefore follow that musicians ought to learn the harpsichord, lute, or any other antiquated instrument, for which good music has been written. Enough, if these observations convince them that there have been charming musical instruments, as well as charming compositions, in former times, from which valuable hints may be derived for further progress in the inexhaustible art of music.

At all events, it appeared to me advisable to save from oblivion and decay any such antiquities as I happened to meet with, in England. When I began to form my collection, in the year 1868, scarcely any musician in London took interest in the matter; and it was perhaps this circumstance which enabled me soon to lay a good foundation for my collection by searches in the old curiosity shops in Wardour Street, and in similar places. Although the chief object was to obtain specimens of the various musical instruments used by our forefathers, which are alluded to by Shakespeare and other classical authors, it appeared to me desirable, as illustrative of the history of music, to incorporate into the collection the most interesting of the extra-European contrivances of the kind, and among these principally such instruments of Asiatic nations as are the prototypes of certain ones of our own. Moreover, some of the extra-European acquisitions may be regarded as being antiquated, since the introduction of Christianity and European civilisation into some distant islands caused the natives to discontinue the construction of such instruments as they formerly used in their pagan ceremonies. About forty Hindu and Burmese instruments were selected from the comprehensive collection which was sent from Hindustan to the International Exhibition, London, 1872. They represent the most characteristic inventions of the kind popular in Hindustan and Burmah, and are, moreover, in an unimpaired condition, which is seldom the case with such brittle manufactures tossed about on the sea from distant lands.

As regards the European curiosities in the collection, their number was perhaps most advantageously increased by some treasures which formed part of the museum of Signor Mario in Florence, and which were sold in London some years ago. Thus the collection has grown so as to comprise now about two hundred and fifty instruments, some of which are of great scarcity, and several are of great beauty. I gladly take this opportunity to supply the musician with a survey of the collection, since I know from experience how interesting and instructive such a list is to the archæological student. About a hundred instruments of the collection, which are at present exhibited in the South Kensington Museum, shall be noticed but briefly, since they are described in the musical catalogue of the Museum, which is easily accessible. Omitting some unimportant specimens, the collection contains:—

Sancho, a stringed instrument from Senegambia, Western Africa. Valga, a stringed instrument from Congo, Western Africa. Its five strings are made of vegetable fibre, and are tuned by being wound round five canes inserted in the body. Length, 3 feet. The brass-headed buttons with which the instrument is ornamented may have been derived from England. It is not unfrequently the case that savages or semi-civilised people in remote parts of the world adorn their rude works of art with some acquisitions of European manufacture scarce with them, and therefore much prized. In fact, European nations often evince a similar predilection in the ornamentation of their articles of luxury. Five is the usual number of canes in the valga; but there are also specimens with ten canes, and consequently with ten strings. The canes are generally stuck in holes under the body of the valga, and as they can be inserted more deeply or drawn out at pleasure, this is probably the method most commonly resorted to for tuning the strings. The valga is made of different shapes. Some of these are precisely like the riverboats of the Negroes, of which illustrations are given in Speke's 'Journal of the Discovery of the Source of the Nile.' The valga is, however, most popular in Western Africa, where it is known by different names in different districts. Near the Gaboon river it is called wambee; and in Benguela, kissumba. Kasso, a species of Negro harp from Senegambia. Ingomba, a Negro drum from Lower Guinea, made of the stem of a palm-tree, 6 feet 6 inches in length; covered at both ends with the skin of an elephant's ear. Negro trumpet from Eastern-central Africa. Made of the tusk of an animal. With two holes for blowing and for modulating the sound, perforated towards the thinner end. This trumpet was brought to England by the African traveller Petherick. Abyssinian fiddle with bow. The whole instrument is cut out of one block of wood. The belly is of parchment. Seven catgut strings. The thinnest string is shorter than the others, and the peg by means of which it is tuned is placed at the side of the neck close to the body. The instrument in shape bears some resemblance to the chikarah of the Hindus. There are some musical instruments to be found on the Eastern coast of Africa which probably were derived originally from Hindustan. The present fiddle, which was brought to England by a soldier engaged in the Abyssinian war, confutes the statement of Bruce and some other travellers that the Abyssinians possess no instrument of the violin class. Fiddle of the Zulu Kafirs, South-eastern Africa. A very primitive contrivance, consisting of an iron basin, over which a skin is stretched, and of a rudely-made bow. It has three gut-strings. The back is open, the bottom of the basin having purposely been knocked out. This instrument was sent by Mr. Alfred J. Topham, from Pieter-Maritzburg, to the Manchester Exhibition. Marouvané, a bamboo instrument from Madagascar. Length, 21 inches. Its seven strings are cut out of the bark of the bamboo and are raised by bridges consisting of little plugs of wood. The tones produced are

[Listen]

but as the position of some of the bridges may have been slightly altered since the instrument came into the hands of Europeans, not much reliance is to be placed on the odd arrangement of intervals here exhibited.

Five nose-flutes, called vivo and fango-fango, of the Polynesian Islanders. Four of these instruments were brought to England by Vice-Admiral Sir Henry Denham. Two are from the Tonga Islands, and two from the Fiji Islands. Among the latter is especially noteworthy a large and fine one, profusely ornamented with designs burnt into the surface, which was obtained by Sir H. Denham at Angras, one of the Fiji Islands. The fifth specimen is from Otaheite. Jew's harp, brought by Vice-Admiral Sir Henry Denham from the Fiji Islands. It is neatly made of a sort of cane. Three Pandean pipes (one with nine tubes, and two with eleven tubes) brought by Vice-Admiral Sir Henry Denham from the Fiji Islands. These neatly-constructed specimens of the syrinx yield the following tones:—

[Listen to No. 1] [Listen to No. 2] [Listen to No. 3]

Bone flute of the Caribi Indians, in Guiana, South America. Two rattles of the Indians of Vancouver Island, brought from Nootka Sound. Of wood, formed in imitation of a bird and of a fish, and painted with different colours. These rattles, called belapella, contain pebbles, and are used by the Medicine Men in their incantations. Dancing rattles of the Indians in the vicinity of the River Amazon, Brazil. Made of a species of nut, a large number of which are hollowed, and suspended to a cord, to be hung over the shoulders. By way of embellishment, some bright feathers and the tail of a quadruped are interspersed between the nuts. The sound produced by this rattle, when shaken, is soothing and pleasant, somewhat like the sound caused by the waves over the shingle on the sea-shore when heard at a distance. At any rate, it is preferable to some more pretentious musical performances of the present day. Sakasaka, a rattle of the Negroes of St. Lucia, West Indies. Ornamented with some rude designs cut on the surface. It contains a number of small red berries of an oval shape, known as jamboo berries.

Samsien, a Japanese stringed instrument. With a large plectrum of a white wood. Its three strings are of silk. The body is square, and is covered in front and at the back with parchment. Koto, a kind of dulcimer, from Japan, with silken strings and movable bridges. The present specimen is one of the smallest. Pepa, a Chinese kind of lute, with four silken strings. Two specimens. Yue-kin, or "Moon-guitar," a Chinese instrument, with four silken strings. Two specimens. San-heen, a Chinese stringed instrument. Ur-heen, Chinese fiddle. Two specimens. Tche, a Chinese stringed instrument, mounted with sixteen thin wire-strings. Kin, a Chinese instrument, the favourite of the great Confucius, and called, somewhat inappropriately, "Scholar's Lute." With its case lacquered and gilt. Yang-kin, Chinese dulcimer, with two little sticks or wooden hammers of a rather peculiar shape. Ty, Chinese flute. Cheng, Chinese organ, with seventeen bamboo tubes, containing vibrating tongues of metal, like our harmonium. Two specimens. Hiuen-tchung, antique Chinese bell. Two specimens. Chinese kind of tambourine, with a wooden hammer. Used in Buddhist worship. Chinese wooden castanets called pan, made in the shape of two spoons combined.

Ranat, a kind of harmonicon from Siam. It has nineteen slabs of sonorous wood placed over a sound-board resembling a canoe, and tuned diatonically. Thro, three-stringed fiddle of the Burmese; two specimens. The top of the finger-board of one of these fiddles is ornamented with carvings in wood, and with a figure in ivory of a little idol. The strings are of silk; the head of the other specimen is likewise elaborately carved. This fiddle probably dates from the eighteenth century, if not earlier, and is a fine specimen of Burmese art. It was formerly in Signor Mario's museum. Megyoung, a Burmese stringed instrument in the form of an alligator, with three silken strings and eleven small bridges. Osee, a Burmese drum of a very peculiar construction. Walet khot, Burmese castanets, consisting of a pair of large split bamboos, 33 inches in length. Keay zoot, a pair of diminutive castanets of metal, from Burmah; they are in the shape of a saucer, and measure only an inch in diameter. The silvery tinkling sound which they produce is pleasant.

Sitar, a Hindu stringed instrument from Nagpoor. Sitar, a fine specimen with movable brass frets, Hindustan. The strings are of thin wire. Vina, the principal national instrument of the Hindus, also known as the Bengalese vina, strung with wire. The present specimen, which is of the smaller kind, is also called kinnari. Been, or Anthara vinai, Hindustan. This species of vina, is called by some Europeans, "the Benares vina," while the old national instrument of the Hindus, which is somewhat different in shape, is called, as we have just seen, "the Bengalese vina," no doubt on account of their being most popular in the districts indicated by their names. Rudra vina, from Bombay, a kind of been with sympathetic wire-strings, placed under the wire-strings which are sounded by the player. Taûs and bow, Hindustan. The taûs is a kind of sitar, the thin wire strings of which are played with a bow. It is made in the shape of a peacock, hence its name taûs, which signifies "peacock." The present specimen, which was sent by the Rajah of Navha to the International Exhibition, London, 1872, is from the Punjab. It is richly coloured, and gilt. The crest and the tail of the bird represented are peacock's feathers, stuck into holes made for the purpose. Koka, a rude kind of Hindu fiddle, mounted with two wire strings, from Bombay. The body consists of a large nut. The instrument bears a strong resemblance to the gunibry of the Barbary States; the latter is, however, played with the fingers, instead of a bow. Chikarah, a Hindu instrument of the violin class, from Bombay. It is cut out of a single block of wood, which, when rubbed or damped, emits a peculiar aromatic scent. The belly is of parchment. The instrument has three catgut-strings, beneath which are placed seven thin strings of wire. The wire-strings are fastened to tuning-pegs situated at the side of the neck. They merely serve as sympathetic strings, to increase the sonorousness when the catgut-strings are played upon with the bow. Sarungi, a Hindu instrument of the violin class, from Bombay. It is constructed of the same kind of wood as the chikarah before mentioned, but its shape is different. The belly is of parchment. The four catgut-strings with which the sarungi is mounted are played with the bow, and thirteen strings of thin brass wire, which run through little holes in the ivory bridge, are placed under the catgut-strings to serve as sympathetic strings. The performer on the sarungi does not press the catgut-strings down upon the finger-board, but touches them at the side with his fingers to produce the tones which he desires. He places the instrument before his breast in a nearly perpendicular direction. Whatever may be thought of this method of playing, the sarungi is certainly considered a very effective instrument, not only by the Hindus, but even by some European listeners. For instance, Colonel Meadows Taylor ('Proceedings of the Royal Irish Academy, Dublin, 1865,' p. 115) remarks: "Its tones are nearer, perhaps, in quality to the human voice than any other instrument with which I am acquainted." However, he does not appear to be acquainted with many instruments. Sarinda, a Hindu violin, with three strings. It is made of a single block of wood, hollowed, and carved. The upper part of the body is left partially open, and is partially covered with skin resembling bladder, generally from a species of gazelle. Sarod, with bow; a Hindu instrument with four catgut-strings, and underneath them five thin strings of brass. On the neck are three catgut-frets. The instrument is painted with designs in various colours. It came from Gwalior. Rabab, a kind of guitar of the Hindus, played with a plectrum. It resembles the saruda. Toontoonee: this curious Hindu instrument, with one wire-string, is used by mendicants and ballad-singers in the Dekhan. Santir, a dulcimer, from Cashmere. Sarmundal, from Kattyawar, Hindustan; a kind of dulcimer in a case. This scarce instrument is tastefully ornamented with painted flowers and fanciful designs. Its wire-strings are twanged with a plectrum made of wood and glass. Murchang, Jew's harp; two specimens of a peculiar shape, from Cashmere. Shank, conch trumpet, from Kattyawar, Hindustan, beautifully ornamented with brasswork. The shank is a sacred instrument blown by the Brahmin priests. Tootooree, a horn of metal, from Hindustan. Kombu, a horn of the Hindus, resembling in its semicircular shape the tootooree, but being smaller and heavier; from Madras. Bhangull, a very thin and long metal trumpet, from Kattyawar, in Hindustan. Kurna, a metal trumpet, straight and large, from Hindustan. Seeng, a large brass trumpet, from Hindustan. Poongee (also called magoudi and toomeree), the snake-charmer's double pipe, from Hindustan. Each tube contains a single reed. There are three specimens of the poongee in the collection, one of which is painted with various designs. The tubes of the poongee are inserted in a gourd. Mukha, a kind of oboe, from Madras. Mukhavinai, a small kind of oboe, Hindustan. Ottu, a species of oboe, somewhat resembling the Arabic zourna, from Janpore, in Hindustan. Zourna, from Hindustan; made of a dark brown wood, with nine finger-holes. Buguri, a very peculiar reed wind-instrument, having finger-holes like a flute, and being at its lower end provided with a bell like a trumpet, from Madras. Bansee, flute, Hindustan. Double flageolet, from Hindustan. Nagarah, a drum, from Surat, Hindustan. The body is of red earthenware, and the parchment is affixed to it by means of a leathern network, which is tastefully adjusted over the back of the drum; diameter at the top, 16 inches; height, 6–½ inches. Banyan, a small hand-drum, Hindustan. Davandai, a kind of double drum, or rather a double darabouka, Hindustan. Kudu Kuduppai, a very diminutive double darabouka of brass and fish bladder, Hindustan. Ghunta, a small bell with a handle, used by the Brahmin priests of Hindustan in religious ceremonies. Jalar, a pair of large castanets of metal, resembling small cymbals, from Hindustan. The sound of them is remarkably pure and sustained.

Rebab; a three-stringed fiddle from Persia. The body, cut out of a single piece of wood, is rudely ornamented with a pattern which is burnt on it. The strings are of catgut. They run at the top of the neck through holes, and are fastened at the back to the tuning-pegs. This rebab is an exact counterpart of the rebec formerly popular in Western Europe. Kemângeh a'gouz, with bow; from Egypt; a species of Eastern violoncello, with two strings made of horsehair. The body consists of the shell of a cocoa-nut, covered at the top with a bladder and perforated at the back with a number of sound-holes. Tanbour Baghlama; the eastern mandoline, strung with four thin wire-strings. Two specimens from Egypt. Gunibry; a rather primitive two-stringed instrument of the guitar kind, from Morocco; two specimens. Kuitra, a kind of guitar from the Barbary States. The body is made of a tortoise. The kuitra, or kitar, an instrument of the Persians and Arabs, is evidently the prototype of our guitar. The present specimen is one of the small kinds of kuitra; the larger kind has eight strings of sheep's gut arranged in four pairs.

Three English flageolets, made in the beginning of the present century. An ivory flûte à bec, made by Stanesby, junior, London, 1740. An ivory flauto piccolo with a silver key; English, eighteenth century. An ivory flauto traverso with one silver key; English, eighteenth century. This ivory flute and the two preceding ones are handsome instruments. A flûte à bec; English, about 1700; of box-wood and ivory; length, 18 inches; eight finger-holes, and without any key. An English recorder, of wood stained black; length, 26 inches; it probably dates from the seventeenth century. Two tenor flutes, German, made about the year 1600. Length, 2 ft. 9 in. Seven finger-holes and one key. These scarce instruments were formerly in Signor Mario's museum. An English bass flute, made about the year 1650. Wood and ivory; with a brass tube for blowing the instrument. Six finger-holes, and one brass key at the upper side, and one finger-hole for the thumb at the opposite side. Length, 3 ft. 8 in. Three double flageolets dating from the beginning of the present century, two of which are made by Bainbridge in London, and the third is inscribed "Simpson." A triple flageolet, on which harmony in three parts can be played; made by Bainbridge in London, in the beginning of the present century. An English horn (oboe da caccia) made of red cedar, by Thomas Stanesby, junior, in London, about 1740. An English horn (oboe da caccia), eighteenth century; probably made in England. Wood, stained black, and ivory. This is the kind of oboe which J. S. Bach has employed in his 'Passion of St. Matthew.' A dolciano, a small bassoon. Inscription: "Wood and Ivy, late Ger^d Wood, London." A basset horn (corno di bassetto), probably English. A border bagpipe, from Northumberland. With bellows, and four drones. A French bagpipe (cornemuse). An English trumpet in case; made probably in the eighteenth or in the beginning of the nineteenth century. A small trombone, English, made by Allen and Pace. A horn, of brass; the bell terminating in the head of a serpent; English, eighteenth century. A serpent, by "Gerrock Wolf, in London;" beginning of the present century. Two alphorns, made by M. von Euw in Bürgy, Rigi Kulm, Canton Swyz, Switzerland, of birchwood neatly covered with birch-bark. Length, 8 ft. 1 in. A cither, a specimen of the kind which was commonly found in England, some centuries ago, in barbers' shops; English, about 1700.[6] A German cither; end of the seventeenth century. Ornamented with marquetry. A small English cither, made about the year 1700. The open strings produce only five tones instead of six. Specimens of this kind are very scarce. An English cither of the eighteenth century. An English cither made by Remerus Liessem, London, 1756. The body is of a very old-fashioned form, having several incurvations at the sides. A small English cither of the eighteenth century. The sound-hole is ornamented with a rose made of wood. The rose of the English cither is more usually made of bronze. Cetera; an Italian cither, made about the year 1680. This is the most beautiful cither in the collection. The entire instrument, except the belly, is inlaid with tasteful designs in ivory and ebony. Also the tone is remarkably fine. A Scotch cither neatly inlaid with wood ornamentation. At the back is a plate of mother-of-pearl with the inscription "Rudiman, ABD^N, DG." Perhaps this cither belonged to the well-known Latin grammarian Rudiman, who, about the year 1700, was at King's College in Aberdeen. An Irish cither with an ivory finger-board and with ten tuning-screws of brass. A large specimen. Made by Perry in Dublin; eighteenth century. Cithara; a Portuguese cither with six pairs of wire-strings, inlaid with tortoise-shell and ivory. Made by Joan Vieira da Silva at Lisbon, about 1700. Cithara; a Portuguese cither, probably dating from the beginning of the eighteenth century. Mounted with twelve strings in pairs. A very fine-toned instrument. Inscription: "Cyprianio Antonio a fez em Lisboa, ao Largo da Esperança." A keyed cither; English, eighteenth century. It has six ivory keys. The idea of applying keys like those of the pianoforte to the cither, and thus striking the wire-strings with hammers instead of twanging them with a quill originated in Germany, but proved to be of no practical advantage. Bijuga cither (i.e. a cither with a double neck, like the theorbo). Two French specimens, dating from about the middle of the eighteenth century. Bijuga cither, made by Renault in Paris, anno 1779. This handsome species of cither, constructed like the theorbo, but having a flat back, was evidently often strung in France with catgut instead of wire, and played with the fingers like the theorbo. It is probably the instrument which in some old French books is called pandore. It has sixteen strings. A French bijuga cither of the eighteenth century, inlaid with mother-of-pearl, ivory and ebony. A fine specimen. An English bijuga cither, eighteenth century. A German bijuga cither (or Grosszither, as it used to be called in Germany), sixteenth century. With seventeen wire-strings. This old instrument is very beautiful in shape, and has a remarkably picturesque rose in the middle of the sound-board. Two Neapolitan mandolinos, inlaid with designs in mother-of-pearl tortoise-shell and ivory. One of these handsome instruments bears the inscription "Januarius Vinaccio fecit, Neapoli, in Rio Catalana, A. Domini 1776." A beautiful Neapolitan mandolino in its old Italian case. Inside the instrument is the inscription "Vincentius Vinaccio fecit, Neapoli, Sito Nella Calata de Spitalletto, AD 1785." A Milanese mandolino, dating from about the year 1700. Rosewood, inlaid with mother-of-pearl, tortoise-shell, and ivory. Silver frets. In front, a figure of Apollo under a canopy and other embellishments in mother-of-pearl. An ornamented sound-hole, the rose being covered with glass. A figure, made of mother-of-pearl, inlaid near the bridge, contains the engraved initials "A. G.," which may be those of the maker of this elegant instrument—possibly Andreas Guarnerius. This mandolino, the handsomest I ever saw, is of the kind called by some musicians "mandurina." It has twelve wire-strings which are arranged in pairs, and therefore produce six tones; while the more common Neapolitan mandolino has eight strings constituting four pairs. A French mandoline, made by Eulry-Clement, in Mirecourt, Vosges, beginning of the present century; the back inlaid with strips of different woods. Eight strings arranged in four pairs. A mandola; Italian, seventeenth century. This scarce instrument may be most briefly described as a huge Neapolitan mandolino. It has the shape of the mandolino, but the size of a large lute; sixteen wire-strings, placed in pairs, produce eight tones of the open strings. The sound is remarkably full and fine. A mandola, similar to the preceding one, inscribed "Gio. Battista, Neapoli, AD 1701." Length, 2 ft. 11 in.; depth of body, 10 in. The mandola was played with a quill like the mandolino and the cither. Pandura, two specimens, made in Italy about the year 1700. Bandurria; Spanish, eighteenth century; played with a plectrum usually made of tortoise-shell. Pandore; English, seventeenth century; played with a quill. It is also called chiterna. Pandurina; Italian, about 1700; its nine catgut and wire strings are arranged in pairs tuned in unison, except the lowest, which is single. The open strings, therefore, produce five tones. The neck is provided with catgut frets. The pandurina, which in shape resembles a diminutive lute, even smaller than the Neapolitan mandoline, was usually played with the fingers, but occasionally also with a quill. On the Continent, gentlemen used to carry it under their mantle when they went to musical parties, or for serenading. Pandurina, twelve-stringed. Inscription: "Carlo Steffani fece. L'Anno 1712, in Mantova." Pandurina, in its old Italian case, with brass ornamentation. The back made of strips of ebony and ivory; length, 20 in. Ivory frets; twelve metal strings. Inscription in the inside: "Joseph Molinari, Venetus, Anno, 1737." Quinterna, Italian, seventeenth century. A species of guitar somewhat resembling a violin in shape, with frets made of catgut. Mounted with eight catgut-strings which produce five tones, as they are arranged in three pairs and two single ones. A five-stringed guitar inlaid with mother-of-pearl and tortoise-shell. Italian, eighteenth century. A French guitar, made by Vobeam, a celebrated lute-maker of the time of Louis XIV. The strings are arranged in pairs tuned in unison. An English guitar, made in the beginning of the present century; the back and sides of the body are of rosewood; the sides have several indentations. Machine head. Portuguese guitar, made about the year 1600, with three sound-holes. The head is bent backwards somewhat like that of the lute; the frets are of catgut, as they used likewise to be on the lute. Not only the belly, but the entire body is made of thin pine-wood. The strings, twelve in number, are arranged so that the higher six are in sets of two, and the lower six in sets of three. As the strings of each set are tuned in unison, five tones are produced by the open strings. An inscription in the inside of this guitar, now greatly obliterated, runs as follows: "Manoel Correa de Alm^da Uileiro da Rainha, N. S., morador na Ruadireita la Esperança LX^a." It would, therefore, appear that the guitar was made by Manoel Correa of Almeida in the province of Beira, Portugal, and that the maker had the title of manufacturer of musical instruments to the Queen. The Portuguese musician, Manoel Correa, born in the year 1590, at Lisbon, and engaged about the year 1620 as chapelmaster at the Cathedral in Saragossa, was probably of the same family as the maker of this instrument. A guitar of the Portuguese peasants, made in Lisbon, eighteenth century; oval shape with indentations at the side; six strings. Inside is a label with the inscription: "Joze Terreira Coelho a fez em, Lisboa, ao Poco los Negros, a Cruz da Esperança." Machête, a small guitar with four strings; Portuguese, eighteenth century. Harp-guitar; English, about 1800. On the finger-board is the inscription: "Clementi and Co., London;" painted with flowers, etc.; eight strings. The pianist and composer Clementi gave his name to a firm of music-sellers in the year 1800. Harp-guitar; English, about 1800; seven strings. The harp-guitar was manufactured with the intention of producing a sort of guitar with a superior quality of sound, by adopting the body of the harp. Lyre-guitare; French, period of Louis XV.; a guitar in the form of Apollo's lyre, with the addition of a finger-board in the middle. Lyre-guitare; French, said to have belonged to Queen Marie-Antoinette; carved and gilt. Guitar-lyre; English, made by R. Wornum, Wigmore Street, London, about 1770. The English guitar-lyre is in its construction almost identical with the French lyre-guitare. Harp-lute; English, about 1800; painted green, with gilt ornamentation of flowers, and other designs. Dital harp; English. An improved harp-lute, recorded to have been invented by Edward Light, London, about the year 1800. Harp-ventura; English, invented at the beginning of the present century by Angelo Benedetto Ventura, in London. This gorgeously-ornamented instrument resembles the dital harp and the harp-lute in construction. Harp-theorbo; English, made by Walker, about 1800. Lute, the back inlaid with ivory and various woods. From an inscription in the inside, now greatly obliterated, it would appear that this lute was made by Magnus Tieffenbruker, in Venice, about 1580. Lute, by Laux Maler, in Bologna, fifteenth century. Brass and ivory screws have been substituted for the original tuning-pegs. This contrivance, as well as a painting of flowers on the sound-board, is probably not older than a hundred years. The places where some of the ancient tuning-pegs were fixed are still discernible. The cracks on its pear-shaped body rather contribute to its dignity, and might be likened to the wrinkles of a venerable grandsire. The sound of this old lute is very fine. A German lute, made by Jacobus Heinrich Goldt, in Hamburg, anno 1712. According to an inscription in the inside, it was altered in the year 1753. A French lute of the seventeenth century. An Italian lute; inscription: "Vvendelio Venere in Padova, 1600;" with the head turned backwards; twenty strings. This lute is of one of the most celebrated Italian lute-makers, and is in a well-preserved and playable condition, notwithstanding its high age. An English lute with a double neck (Testudo theorbata) made about 1650. A theorbo, Italian, seventeenth century. It has twenty-four catgut strings, which are arranged in pairs tuned in unison, except the highest two which are single strings. It was the custom to have the highest string, called chanterelle, single; it principally served for playing the melody. Sometimes, as in the present instance, two chanterelles were used. The twenty-four open strings, therefore, produce thirteen different tones. The frets are of catgut. A French theorbo, made about the year 1700. An archlute; Italian, about 1700; a large instrument, with eighteen strings, ten of which are for the upper set of tuning-pegs, belonging to the bass strings which are at the side of the finger-board. The ten bass strings produce five tones with their octaves, each tone having two strings tuned in an octave. The archlute, or bass-theorbo, is the largest sized kind of the theorbo, or lute with a double neck. An Italian archlute, inscribed: "Matheus Bucchenberg, Roma, 1619." From Signor Mario's museum. Bucchenberg, or Bueckenberg as he was more generally called, was one of the most celebrated lute-makers in Italy, and a German by birth. The present archlute has three ornamented sound-holes. It is provided with a mechanism by means of which any one of the bass strings by the side of the finger-board can be raised a semitone in pitch at the pleasure of the performer. This ingenious contrivance, which renders the bass strings more useful in compositions having modulations into distant major or minor keys, occurs also on a French theorbo dating from about the year 1700, which is in my collection. But on this French theorbo, the mechanism acts upon all the strings beside the finger-board simultaneously, while on the archlute just noticed it is contrived so that any single string may be altered in pitch independently of others. As the mechanism is evidently not a later addition, but was made with the instrument in 1619, it is suggestive to musical antiquarians, inasmuch as it reveals a higher degree of progress in the construction of the lute than is generally supposed to have been attained about the beginning of the seventeenth century. An Italian theorbino, or the smallest kind of theorbo, seventeenth century; with sixteen strings, six of which run beside the finger-board. A chitarrone, or large Roman theorbo; Italian. Inscription: "Vitus de Angelis, Bonon, 1609." It is about six feet long, and has twenty-one strings. The chitarrone was formerly called Roman theorbo, because it was principally used at Rome. There was a similar instrument popular at Padua, somewhat smaller in size. The present specimen was made in Bologna. The chitarrone was used in the orchestra, assisting at dramatic performances as well as in church music. It was often strung with wire instead of catgut; the same was the case with the common theorbo of Germany and England. A chitarrone, with marquetry and three ornamented sound-holes; made by M. Bueckenberg, in Rome, anno 1614. From Signor Mario's collection. An Irish harp (clarseth), strung with wire; made by Egan, in Dublin, in the beginning of the present century. An arpanetta (German, Spitzharfe), English, seventeenth century; with one hundred steel wire-strings and thirty-five brass wire-strings. A bûche (German, Scheidholt), from Val d'Ajol, in the Vosges mountains, in France; made in the beginning of the present century. An English specimen of the hummel, probably made during the eighteenth century; with twelve wire strings. It resembles the bûche, and may be regarded as an antiquated species of our present horizontal cither. A bell-harp, made by John Simcock, in Bath, about the year 1700: length, 20 in. It has sixteen tones. Each tone is produced by three thin brass wire-strings tuned in unison. The strings are twanged with two little plectra, or quills, of which the performer fastens one to the thumb of each hand. The two wooden handles, one on each side of the instrument, are for holding while swinging it during the performance, to produce the effect of a distant bell. A bell-harp; English, about 1700. Inscribed: "Bath, John Simcock, inventor and maker." This instrument has twenty-four tones produced by thin brass wire-strings. The highest tones have each four strings tuned in unison, the others have three, except the deepest, which is produced by a single string covered with wire. The instrument is in its old case. Dulcimer; English, with movable bridges. Inscribed: "Old Weston, Huntingdonshire, 1846." Dulcimer; English, beginning of the present century; of mahogany, the sound-board of pine, being painted green, and gilt. Sixteen sets of wire-strings, each set consisting of three strings tuned in unison. Salterio, Italian dulcimer, made by Antonio Bertefice, at Florence, in the year 1745. Salterio; Italian dulcimer; a small specimen, inscribed at the back: "Antonius Berri fecit, Anno 1722." From Signor Mario's museum. Echelette; French, eighteenth century. It has twenty-two slabs of a hard and sonorous wood, which are sounded by being struck with two little mallets. A sordino, or boat-shaped pochette; English, seventeenth century. An Italian sordino, dating from about the year 1600. The body is of tortoise-shell, inlaid with silver; the tuning-pegs are of ivory; with a carved head of wood and ivory. The entire length of this sordino is only 14 inches. A kit, or pochette, in the shape of the violin; Italian, about 1600. Violetta piccola, the smallest kind of the old viol instruments, shaped with a slanting neck like the viola da gamba. This small species of treble viol was called by the French haute-contre. Italian, seventeenth century. A five-stringed viol, called by the French quinton. Inscription "Antonius Gragnani fecit, Anno 1741." A small six-stringed viol, called by the French dessus-de-viole; French, seventeenth century. A six-stringed viol, called by the French pardessus; French, seventeenth century. A treble viol, with a carved head; English, about 1700. Its neck has catgut frets, and its six strings were tuned like those of the bass-viol, or viola da gamba, but an octave higher. A countertenor-viol; English, seventeenth century. Inside is the inscription: "Henry Jay, in Southwarke, 1667." The scroll is finely carved. The belly has, besides the usual two sound-holes, an oval sound-hole in the middle, with an ornamental rose. The back has a peculiar curve towards the end; probably, the instrument was intended to rest on the left shoulder when played. Like the viola da gamba, it has six strings and catgut frets. It was tuned a fifth higher than the viola da gamba. A tenor-viol; English, about 1620. This small species of viola da gamba is now very scarce. It was tuned a fourth higher than the larger viola da gamba, or bass-viol. Viola da gamba, inlaid with mythological representations and other ornamentation in ivory, mother-of-pearl, tortoise-shell, and precious stones. Made about the year 1580, probably by Joachim Tielke in Hamburg; a splendid instrument. Viola da gamba; English, seventeenth century; with a finely-carved head representing the bust of a girl. Inside is the inscription: "Richard Meares, without Bishopsgate, near to Sir Paul Pinder's, London, Fecit 1677." In the Post Boy of the 9th of July, 1720, we find the following advertisement: "This is to give notice to all gentlemen and ladies, lovers of musick, that the most celebrated new opera of 'Radamistus,' composed by Mr. Handell, is now engraving finely upon copper-plates by Richard Meares, musical instrument maker and music printer, at the Golden Viol. To make this work more acceptable, the author has been prevailed upon to correct the whole." The Golden Viol was the sign of a music-shop in St. Paul's Churchyard, where Richard Meares, the publisher of Handel's opera, lived. But, to judge from a notice of this publisher given in Hawkins's 'History of Music' (Vol. V., p. 109), it appears that he was the son of the maker of the present viola da gamba. At any rate, when Handel came to England this instrument was no longer a new one; for it was made before Handel was born. The bow belonging to it is of the old-fashioned kind known as the Corelli bow. And it may be here mentioned that with most of the viols before enumerated curious bows are placed which have long since gone out of use. Viola da gamba; Italian, about 1600; with a finely-carved head. The finger-board is inlaid with designs of flowers, etc., in tortoise-shell and ivory. This fine-toned bass-viol is supposed to have been made by Gaspar di Salo. At all events, it is a valuable specimen by some early Italian maker. Viola da gamba; English, about 1700. The instrument resembles a small violoncello, since its body does not slant towards the neck. An illustration of this kind of viola da gamba is given in 'The Division-Violist, by Christopher Simpson, London, 1659.' Its body is remarkably flat, and its quality of sound is consequently very clear. Like the common viola da gamba, the instrument is six-stringed, and has catgut frets. A seven-stringed viola da gamba; probably Italian; towards the end of the seventeenth century. The addition of a seventh string to the viola da gamba is said to have been first resorted to by the French virtuoso Maria Marais, towards the end of the seventeenth century. The string added is the lowest, and is tuned a minor third lower than the C string on the violoncello. The innovation evidently did not find much favour with gamba players in general; and it is seldom that one still meets with a seven-stringed gamba. A four-stringed viola da gamba; made by John Baker in Oxford, anno 1688. Four-stringed gambas met with at the present day are almost invariably altered six-stringed ones, on which the neck has been narrowed, and the head shortened, so that the instrument may be used as a small violoncello. This one was originally made with only four strings, and has evidently never been tampered with. Viola d'amore; Italian, seventeenth century. A fine specimen, in a well-preserved condition. Viola d'amore; Italian, seventeenth century. Old-fashioned shape, having several incurvations at the sides, and a sound-hole with a rose in the middle of the belly. Seven catgut-strings, and underneath them seven sympathetic strings of thin steel-wire. Viola d'amore; German, eighteenth century. Probably made by Jacob Rauch, in Mannheim, about 1740. With only five catgut-strings, and with eight sympathetic wire-strings. An English viola d'amore strung entirely with wire, seventeenth century; with a curiously-constructed head, ornamented with a carved female bust. A so-called psaltery (also known as sultana and cither-viol). Mounted with six wire-strings, and played with a bow. Irish; eighteenth century. Made by Thomas Perry, in Dublin, anno 1767. A psaltery, made by Thomas Perry, in Dublin, second half of eighteenth century. The neck and the tail-piece are of ivory. Its ten strings are of steel and brass wire, the highest eight being arranged in four pairs producing four tones, and the others are single ones producing two tones. Hardangerfelen. A kind of viola d'amore of the Hardanger peasants in Norway, inlaid with mother-of-pearl and ivory. The top, carved and gilt, represents a dragon's head. This fiddle has four catgut-strings, and four thin steel-strings beneath them. Inside is the inscription "Fabrokert of Knudt Erikson, Helland, 1872." It was sent to me from Christiania. Violins of unusual shapes, three curious specimens, made during the eighteenth century. A violin made of iron. Probably English, beginning of the present century. If on no other account, this violin is certainly interesting in an acoustic point of view, since it proves that much sound is obtainable merely by the vibration of the strings acting upon the column of air in the violin, without any assisting vibration of the belly or sound-board. At all events, the substance of which this violin is made is not likely to contribute to the sonorousness. A tromba marina or marine trumpet, probably Dutch, seventeenth century. Besides one string of thick catgut upon the instrument, there are in the inside forty-one sympathetic strings of thin steel-wire. A nyckel-harpa, a curious instrument of the Swedish peasantry, which may be briefly described as a combination of a fiddle and a hurdy-gurdy. A crwth, an antiquated Welsh instrument of the fiddle class. The body is cut out of a single block of wood, the belly only being glued to it. Two specimens of the nail-violin, one of which has sympathetic strings of thin brass-wire running over the sound-board. These two curious instruments were probably made in France or Germany about the year 1800. The invention of the nail-violin is attributed to a German of the name of Wilde, who lived in St. Petersburg about the middle of the eighteenth century. A hurdy-gurdy (French, vielle), made by Pagot at Jenzat, a small town near Orleans, about the year 1840. Carved head. Six tuning-pegs at the top, and one at the tail-piece. This hurdy-gurdy is of the kind which the French call vielle en luth, because its body is shaped like that of the lute. The other kind, which has indentations at the sides resembling those of the guitar, is called vielle en guitare. Organ hurdy-gurdy, or vielle organisée, made by a Frenchman residing in London during the middle of the eighteenth century. This curious instrument, which was formerly also known in England, where it was called flute-cymbal, consists of a hurdy-gurdy combined with a small organ of two stops, and it is so contrived as to allow the hurdy-gurdy or the organ to be used each separately, or both combined, at the pleasure of the performer. Some portions of it have been restored in the present century. Clavichord, generally called in German Clavier. Made in Einbeck, near Hanover, about the year 1800. Clavichord, made in Thuringia. Clavichord, made by the celebrated manufacturer, Barthold Fritz, in Brunswick, in the year 1751; ornamented with painting and engraving. Harpsichord, inscribed "Jacobus Kirkman, Londini, fecit 1772." The case is of walnut, inlaid with tulip-wood. Carved legs representing eagle's claws grasping a ball. With two keyboards, constituting a "double harpsichord," as it used to be called in England. The woodwork about the keyboards is ornamented with designs in marquetry of various coloured woods. This harpsichord has six stops and two pedals, and is provided with a Venetian swell. Jacobus Kirkman, having obtained an order from King George III. to produce a fine harpsichord intended as a present for Queen Charlotte, made—as manufacturers under such circumstances not unfrequently do—two harpsichords exactly alike, viz., one for Queen Charlotte, and the present one, which was bought by John Bacon, the famous sculptor, after whose death it came into the possession of Dr. Sclatter, priest-vicar of Exeter Cathedral, who had it for nearly half-a-century, and after whose death it was sold at a sale of his effects. Harpsichord with two keyboards, six stops, and two pedals. Inscribed "Jacobus et Abraham Kirkman, fecerunt 1773." The case is of mahogany; the wood near the keyboards is walnut, inlaid with tulip-wood and a tesselated border of various coloured woods. Only the lute-stop has jacks with crow-quills; the jacks of the other stops are provided with small pieces of prepared leather instead of quills. The variety in the colour of sound thereby obtained is very effective. This instrument probably exhibits the highest degree of perfection which was ever attained in the construction of the harpsichord, in so far as quality and power of sound are concerned. As regards outward appearance, the beauty of some of the Dutch harpsichords, or clavicembali, ornamented with paintings by celebrated artists, is unsurpassed.

It now remains to draw attention to the fact that many of the Museums of Antiquities in different countries instituted by Government contain some curiosities of the kind in question which cannot fail to interest the musical antiquarian. This is the case even in America, where in the museums of Mexico, Lima, and other towns, may be found among the examples of workmanship and arts of the Aztecs and the Inca Peruvians various contrivances relating to music. That royal personages in their cabinets of curiosities obtained from distant lands should not unfrequently have scarce, or handsome, or grotesque-looking musical instruments is only what might be expected. There are, for instance, about forty acquisitions of this kind in Windsor Castle, which consist chiefly of Asiatic and African drums, pipes, and stringed instruments. Several of them, however, are spoiled by having been "improved," or Europeanized. Some have descriptive labels attached to them, as, for instance, an Ashanti war-trumpet made of a human bone, and ornamented with human jawbones; and an Ashanti war-drum, carved from the trunk of a tree, and likewise ornamented with human jawbones; which two curiosities, the labels inform us, belonged to the King of Ashanti, from whom they were taken "in the action in which he was defeated by Colonel Purden. Sent by Sir Herbert Taylor in 1827. Brought to England by Major-General Sir Neil Campbell, commanding on the Western Coast of Africa." There is also in this assemblage a fanciful contrivance, which is intended for a sort of guitar, and of which a label affixed informs us: "This instrument was made from the head of the Duke of Schomberg's horse, killed at the battle of the Boyne, 1690."

Of the special exhibition of ancient musical instruments held in the South Kensington Museum in the year 1872, an account has been given in the Descriptive Catalogue of the Musical Instruments in the South Kensington Museum, London, 1874. The present survey would, however, be imperfect if that remarkable exhibition were left entirely unnoticed, although the collection which it comprised had an existence of four months only. Suffice it here to record that it contained upwards of five hundred instruments, including a large number of violins, violas, and violoncellos of the celebrated Cremona makers. Should a similar exhibition be attempted, an equally successful result is not likely to be achieved for years, if ever. Old and scarce musical instruments have become of much more antiquarian interest than formerly was the case. The specimens still obtainable by purchase gradually find their way into public museums, not only in European countries, but also in America, and in the English colonies. Whenever they have been secured for a museum they generally are no longer obtainable on loan for other exhibitions. Private persons possessing such treasures set upon them a higher value than formerly, and are therefore less inclined to expose them to the risk of being injured. For these reasons it appears all the more desirable that there should be some record of the collections known to be still in existence.