As to the _Cremonas_ (a word of fondest association to all votaries of the violin!), the oldest of them are those from the hands of _Hieronymus_ (or Jerome) _Amati_, at the beginning of the seventeenth century, or rather earlier. Next come those of _Antonius Amati_, belonging to the middle of that century; and then those of _Nicholas Amati_, towards the end of it. To these makers are to be added _Antonius Straduarius_, and afterwards (at the commencement of the eighteenth century) _Joseph Guarnerius_. All these men of Cremona, so renowned for the products of their ingenuity were (according to M. Otto), _mathematical_ builders, and nice observers of the proportions best calculated for imparting a full, powerful, sonorous tone. The instruments by the three Amati are rather higher, or less flat, in the model, than those of Straduarius. Of all the Italian Violins, Hieronymus Amati’s are the handsomest in shape, and the best in make. They are now more than two centuries and a half old, strongly constructed, and likely to retain their excellence another century. Nicholas Amati’s are of rather small size, and somewhat abrupt in the swell of the form. The instruments of Straduarius are most esteemed by _Concert_ performers for the power of their tone. Those of Guarnerius are beautifully constructed, and with a good deal of similarity to those of Nicholas Amati. The fine _Tyrolese_ instruments—those of the celebrated _Jacob Steiner_—differ much from the _Cremonese_, both in shape and tone. In the latter respect, they are of sharper and more penetrating quality. The _later_ Tyrolese makers have been rendered the great source of deception by dealers, &c.—their instruments having been made to pass as classics. The best among them are those of Klotz. The Tyrolese imitations of the Steiners and Cremonese are chiefly distinguishable by the coarse and wide grain of the deal, and by the thin spirit varnish upon them, instead of the Italian strong amber varnish. The author treats individually of the principal German makers. _Statelmann_, of Vienna, of high fame as a studious maker, was a close imitator of Jacob Steiner; as were also _Withalm_ of Nuremberg, and _Riess_ of Bamberg. The flat model of Straduarius has been imitated by _Buckstädter_ of Ratisbon, and _Jauch_ of Dresden. _Martin Hoffman_, and _Hunger_, both of Leipsig, were excellent as tenor-makers, and good in violins. The instruments by _Eberle_ of Prague, one of the most celebrated German makers, are like the Cremonese, but less round and full in their tone. _Bachmann_ of Berlin, also very eminent, was strictly careful as to proportions. Against the class of _repairers_ in general, as so many botchers, tinkers, and spoilers, the author is emphatically severe; and he points the especial finger of scorn at one _Kirchlag_, who, about 1787, made a visit of destruction, under pretence of repair, to most of the towns in Germany.