Chapter 9 interrogates ways in which violin culture meshed with ideologies of nation, whether the political territory of Britain or any of its constituent countries (England, Ireland, Scotland, and Wales). The first of four case studies analyzes how journalism sustained an imagined sense of a string-playing community across Britain. The second suggests that during World War I violin culture contributed to the idea of a united Britain through efforts to supply stringed instruments to troops for recreational use and an advertising campaign that encouraged the purchase of British-made violins at home. The third section unpacks overlaps and fusions between violin culture and traditional fiddle playing, before discussing how traditional tunes from the Four Nations were appropriated by violin culture for domestic consumption and pedagogical benefit. The final section foregrounds the repertoire of newly composed classical works for string orchestra that were conceived as expressions of national identities. Arguing that this creativity was a by-product of violin culture’s growing vitality, the chapter demonstrates how suited stringed instruments were for raising consciousness of nation(s). (172)