The many and varied forms and sizes of viols illustrated in manuscripts and elsewhere suggest that the instrument was used in the music of the church. Certainly instruments of some kind (apart from the organ) must have been taken into the church service, else Thomas Aquinas would not have argued against their employment. The church was not very sympathetic toward musicians and its attitude was reflected to a great extent by the world at large. Synods and councils frequently issued decrees against wandering minstrels and in the city of Worms they were even refused the privilege of lodging in or frequenting public houses. The fourteenth century brought much greater recognition for instrumental art, which grew in popularity and in the favor and patronage of those in high places. When the French _jongleurs_ united in 1321 into the _Confrérie de St. Julien des Ménestriers_ they obtained a charter which called their leaders _Rois des ménestriers_ (later _Rois des violins_). The same charter alludes to ‘high and low’ instruments, apparently treble and bass rebecs or viols which were played in octaves to each other or perhaps in a primitive sort of counterpoint. Technique must have been very inferior, for musicians in Alsace were required to study only one or two years before taking up music as a profession. Their incomes, on the other hand, were probably substantial, as it is recorded that they were obliged to pay taxes. It is interesting to note at this early period that the city of Basle employed a violinist to play in a public place for the entertainment of the citizens. So far we have endeavored to trace the progress of violin music through paintings, monuments and fugitive references in manuscripts, decrees and other documents. These references are not on the whole very clear and the nomenclature of early instruments of the violin family is very loose and confused. We know practically nothing about the music composed for these instruments. Their imperfect shape does not suggest music of an advanced kind, nor does it mean that the technique of the time was equal to very exacting demands. The famous blind organist, Conrad Paumann (1410-73), who could play on every instrument, including the violin, has left us in his _Orgelbuch_ several transcriptions of songs which he may have played on the violin as well as on other instruments, and the dances and other pieces of free invention composed for other instruments may also have served as musical material for violinists. But all this is mere surmise. [Illustration] Relatives of the Violin. Top: Viola de braccia, Pochette, Viola bastarda. Bottom: Viola da gamba, Violone, Viola d’amore.