The oldest maker of Violins on record was a native of Brittany, named Jean Kerlin. He followed his trade about the middle of the fifteenth century. La Borde, author of the imperfect and voluminous “Essai sur la Musique,” relates that he saw in Brittany a Violin with four strings, the neck of which did not appear to have been changed, and which, instead of the ordinary tail-piece, had a small piece of ivory inlaid, pierced with four holes. This Violin was thus labelled, “Joann. Kerlino, anno 1449.” It was afterwards brought to Paris, and Koliker, a musical instrument maker of that city, had it in his possession in 1804. The belly was more raised than in good modern Italian Violins, and was not equally rounded at the upper and lower extremities; the sides were ill-formed and flattened. Its tone was sweet and muffled, and resembled that of instruments made by Antonio Amati at the close of the sixteenth century. After Jean Kerlin, there is a lapse of sixty years in the history of the manufacture of Violins, for the only maker of this instrument whose name has come down to us is Gaspard Duiffoprugcar, born in the Italian Tyrol, who commenced making his Violins at Bologna about 1510, working afterwards in Paris, and at Lyons. One Violin only of the large pattern which bears his name is in existence; it is dated 1539. The quality of tone of this instrument is powerful and penetrating, but when played upon for some time, it loses its intensity. Like an old man, it needs repose to recover its faculties. The scroll represents the head of a king’s jester, with a plaited frill. This Violin belonged to M. Meerts, formerly first solo violinist of the Theatre Royal, Brussels, and professor at the Conservatory of that city. Gaspard di Salo, thus called from being born in the small town of Salo, on the lake of Garda, in Lombardy, worked in the second half of the sixteenth century. He was specially celebrated for his Viols, Basses, and Double-Bass Viols, then more used than the Violin. Nevertheless, an excellent Violin of his make, dated 1576, was met with in a collection of valuable instruments which were sold at Milan in 1807; and the Baron de Bagge was in possession of one of which Rodolphe Kreutzer often spoke with admiration. These instruments, of rather a large pattern, possess a powerful tone, approximating to that of the Alto.