The violin, so often called the "king of instruments," is of great antiquity. As to just when it was invented is a point as yet unsettled, despite the indefatigable researches of historians of music and of general antiquaries. The instrument certainly existed, however, as early as the sixth century; this being proven generally by the figures of violins observable on very ancient and respectable monuments still existing, and particularly by a figure cut in the portico of the venerable Cathedral of Notre Dame in Paris, founded by Childebert in the sixth century, which figure represents King Chilperic with a violin in his hand. It being thus used in a representative character shows, too, that it has for many hundreds of years been a favorite instrument. Of that ancient guild of musicians, the troubadours,--so long the principal devotees and custodians of the divine art,--those were most esteemed by royalty and the general public who were the best violists. In the construction of most musical instruments, improvements have been constantly made up to the present time. This is particularly true of the piano-forte; the handsome form, and the purity and beauty of tone, observable in a lately-made "Chickering" or "Steinway," rendering them so much superior to a piano of the olden times, as to barely admit of the latter's being called by the same name. But this is not true of the violin, inasmuch as a long time has elapsed since any change has been made in its construction that would add to its delicate, graceful form, to its nicety, sweetness, and purity of tone, or general musical capacity. To-day a Cremona, or an Amati, as well as violins of other celebrated makers of the long past, commands almost fabulous prices. A Cremona very lately sold for four thousand dollars; while such instruments as I have mentioned, when in the possession of a soloist, are scarcely to be purchased at any price. Up to the times of the celebrated violin-virtuoso, Paganini, there had not been, it would seem, much improvement made in performance upon this instrument. He startled and electrified the musical world, and in his wonderful playing developed and amplified such resources and effects, both as to instrument and performer, as were not, previously to his coming, thought possible. After him, and to be compared with him, have come Vieuxtemps, Ole Bull, Wieniawski, and Joseph White. The latter, although not as yet so well known as the others (he is only a little over thirty years of age), is considered by competent critics to be fully entitled to rank with them. But these are "bright particular stars," men of genius. The instrument is so difficult of mastery, that few violin-students may hope to equal such marvellous players as those mentioned; although long-continued and severe application may make them good orchestral performers or fair soloists.