ge on art, a case in point
is found in the manufacture of Venetian glass. The Venetians,
centuries ago, became famous for their works in glass, and the
patronage they enjoyed was world-wide; but their country being thrown
into an unsettled condition, capital drifted from it, until the
blowing of glass, together with other industries, was comparatively
extinguished. Within recent years the art of making glass has shown
signs, even in Venice itself, of reviving with all its former vigour
in the workshops of Salviati, the success of which is due in great
measure to English capital.

With regard to English Violin manufacture, there would be no reason
why Violins should not, at the present moment, be produced in England
which should fully reach the standard of merit maintained in our
forefathers' days, if only the patronage of the art occupied a larger
area. The present dearth of English makers does not arise from any
national want of talent for this particular handicraft; in fact, we
have plenty of men quite as enthusiastic as our foreign friends for a
vocation which, in England also, must be pronounced to be alike
venerable in its antiquity and famed for the dexterity of its genius.

The earliest makers of Viols in England seem to have been Jay, Smith,
Bolles, Ross, Addison, and Shaw, names thoroughly British. We may take
this as good evidence that the making of Viols in England originated
with the English, and was not commenced by settlers from the
Continent. Doubtless the form of the English Viol and its brethren was
taken from the Brescian makers, there being much affinity between
these classes of instruments. In the few Violins extant by Christopher
Wise the Italian character is very striking. In them we see a flat
model, excellent outline, and varnish of good quality. The Viols of
Jay have the same Italian character. Later on we have names of some
reputation--Rayman, Urquhart, and Barak Norman. In the absence of any
direct evidence as regards the nationality of these makers it is
requisite to endeavour to trace the style belonging to their works. It
will be observed that there was a great improvement in the style of
work and varnish of instruments made in England, commencing with the
time of Rayman, and it is probable that this step in advance was
obtained from intercourse with Italy or the German Tyrol. Starting
with Rayman, there is a German ring in the name which makes me think
that he came from Germany, and, if