In tracing the progress of the violin (which the author will endeavour to do in connection with its music and performers) it is necessary to content ourselves with a more definite standpoint, therefore, we will commence with a period when the viol or fiddle family came upon the scene, the immediate precursor of the violin; the viol, in fact, is not inaptly termed the grandfather of the violin. The great distinctive feature between a viol and the present violin family, is that instead of F sound-holes, viols had C holes. Some had sound-holes in the shape of what are known as “flaming sword” holes. They carried five or six strings, sometimes more, and the finger-board was mounted with frets, for (as was then thought) the more certain means of stopping the notes in perfect tune, an idea which, to modern violinists, involves an absurdity. Viols are known to have been in use as early as the fifteenth century (some writers go back to the thirteenth, but these early ones partook more of the nature and shape of the guitar than of the subsequent viol). The viol continued in use up to the beginning of the reign of Charles I, and was one of the most popular instruments in its time. There were generally four in use, viz., treble, alto, tenor and bass, and occupied in some respects the position now held by our violin, tenor, ’cello and double bass. To an ordinary observer there is little difference in appearance between the shape of a treble viol and the earliest violin, so that a considerable latitude of doubt may be allowed to exist as to the finality of the former and the adoption of the latter; but certain it is that the violin of the time became to be appreciated to such an extraordinary degree, that the principal viol and lute makers towards the end of the sixteenth century set about making violins in the place of viols. Whether the idea of this change was dictated by the caprice of novelty, or whether any special demand arose for an instrument of more extended compass by reason of the advancement made in the musical compositions of the time, it is difficult to determine with certainty. It is significant, however, that at this period of the advancement of the violin, the musical influence of Tallis (the founder of English church music), and of Bird, his illustrious pupil, was manifesting itself throughout this country, and in Italy the music of Palestrina exercised a similar influence. In the year 1662 appeared the first work printed in England containing any reference to the violin. It was written by one John Playford, and is entitled “A Brief Introduction to the Skill of Musick,” wherein is the following relating to the violin: