The author, deflecting entirely from the prevalent notion on the subject, asserts that it is not _age_, but constant _use_, that is the means of producing a smooth, clear tone. He lays it down as a position, which he has himself verified in various experiments, that _any_ instrument is to be greatly improved by working at it daily for three months together, with a strong bow—taking two tones at a time, fourths or fifths. This method of improvement, it is clear, must be somewhat costly, and infinitely tedious—but it is much recommended by our author. Hapless indeed must be the condition of the human being destined to labour at fourths and fifths, with a strong bow, for three months together! If such a system were introduced among _us_, it is to be feared that the announcement of “Improvers wanted” would frequently be made in vain. What (we may ask) would become of the _intellects_ of a human being _so_ employed? As for the reason _why_ so beneficial an effect belongs to this peculiar practice, M. Otto has declined unfolding it—his “duty to his family” forbidding such divulgement. Thus far, Jacob Augustus Otto—dismissing whom, with thanks for the information picked out of him, we proceed to other details, derived from other sources. To the names of the _Amati_ family already mentioned, should be added that of _Andreas_, brother of Nicholas. These two brothers, as well as the other makers in that family, constructed instruments of a soft and rich tone, but deficient in the _brilliancy_ which modern players regard as so great a requisite. They (the two above specified) supplied, about the year 1570, some violins of large pattern for the chamber-music of Charles IX, King of France, which are remarkable for beauty of shape, and nicety of finish. Contemporary with Andreas and Nicholas Amati, was _Gaspar de Salo_, of Lombardy. He was especially renowned for his instruments of the _viol_ species, at that time more in request than violins. His instruments of this latter kind, somewhat larger in pattern, have more power than those of the Amati; but their tone has been said to be too analogous to that of the _tenor_. Of a similar quality are the violins of _Giovanni Granzino_, who operated at Milan, from about 1612 to 1635.