I owe to M. le Chevalier Kraus, of Florence, the pleasure of including among the engravings those of the instruments made by Antonio Stradivari for the Grand Duke of Florence, he having obtained for me the necessary photographs. In conclusion, I have to thank my young friend Mr. Allan Fea for the two illustrations forming the head and tail pieces to "Hudibras and the Champion Crowdero." 28, _Wardour Street, London_, 1884. PREFATORY NOTE BY THE EDITORS Pending the completion of a more costly revised version of the late Mr. Hart's work, the editors, in compliance with what seems to be a widespread public desire, have decided to reprint the volume, as issued in popular form and finally corrected by the author in 1887, but with additions and certain emendations desirable in order to bring it into accord with the present state of knowledge, and to enhance its value as a work of reference. To this end the names of a considerable number of makers, either unknown at the time, or not deemed of sufficient prominence for insertion in the edition of 1887, have been incorporated in the text, together with particulars of the distinctive features of their work; and the notices relating to others have, where needful, been modified or recast. In other respects the book remains substantially as the author left it. 28 _Wardour Street_ _November_, 1909. CONTENTS SECTION I.--THE EARLY HISTORY OF THE VIOLIN. PAGE 1.--General observations--Early History involved in obscurity and vague conjecture--Jubal, Orpheus, and Apollo--Views of Early Historians of Music, as to Asiatic and Scandinavian origin respectively--Ravanon, King of Ceylon, and the "Ravanastron"--Researches of Sanscrit Scholars--Suggested Arabian origin of the Ribeca, or Rebec, and the Rehab of the Moors--Early Egyptian instruments--Moorish musical influence in Spain--The Troubadours and Trouveres in Northern France, and the Gigeours of Germany . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-11