As we may deduce from many contemporary references, the troubadours, jongleurs, and minnesingers[43] of the twelfth and thirteenth centuries played a very important part in the development of the violin type of instrument. There is extant, for instance, a manuscript of the period, containing an illustration of a jongleur playing upon a three-stringed instrument very nearly resembling the modern violin. Jerome of Moravia, a Dominican monk of Paris in the thirteenth century, informs us in his Speculum Musices that the two strings of the violin then in use were tuned as follows:
. His Speculum, which is probably the earliest approach to an instruction book for the violin, also contains this very definite indication of the fingering:
Under the influence of the troubadours and minnesingers the popularity of the violin spread rapidly both among professionals and amateur musicians. It was especially popular as an accompaniment to dances. In the Brunswick Chronicle (1203) we read of a clergyman who had his arm struck by lightning while playing for dancers. We may infer from this that it was considered quite a respectable recreation. The Chronicle has the words veddelte (fiddled) and Veddelbogen (fiddle-bow) without any comment, so that they must have been quite familiar terms. A stained glass window, a Parisian manuscript and a miniature painting from a manuscript called Mater Verborum (1202-12) show that the instrument then in use resembled in shape the modern violin. In Ulrich von Lichtenstein’s Frauendienst we read of an orchestra which included two fiddles and which played a lively walking-tune or march for the purpose of charming away the fatigues of the journey. We may gather some idea of the vogue of violin playing during this period from the character of a decree, issued in the year 1261 and now in the archives of Bologna, which forbade the playing of the viol at night in the streets of that city. Despite its great popularity it held a place beside the harp as an instrument worthy of the dignity of a minstrel, as we may gather from an allusion of a French poet about the year 1230:
‘When the cloth was ta’en away
Minstrels strait began to play,
And while harps and viols join
Raptured bards in strains divine,
Loud the trembling arches rung
With the noble deed we sung.’
By this time professional instrumentalists had become a strong class and in various cities had begun the formation of fraternities which did not differ much in essence from our modern musical unions. The first of these, as far as we can discover, was the St. Nicholas Brüderschaft which existed in Vienna as early as 1288.
The many and varied forms and sizes of viols illustrated in manuscripts and elsewhere suggest that the instrument was used in the music of the church. Certainly instruments of some kind (apart from the organ) must have been taken into the church service, else Thomas Aquinas would not have argued against their employment. The church was not very sympathetic toward musicians and its attitude was reflected to a great extent by the world at large. Synods and councils frequently issued decrees against wandering minstrels and in the city of Worms they were even refused the privilege of lodging in or frequenting public houses.
The fourteenth century brought much greater recognition for instrumental art, which grew in popularity and in the favor and patronage of those in high places. When the French jongleurs united in 1321 into the Confrérie de St. Julien des Ménestriers they obtained a charter which called their leaders Rois des ménestriers (later Rois des violins). The same charter alludes to ‘high and low’ instruments, apparently treble and bass rebecs or viols which were played in octaves to each other or perhaps in a primitive sort of counterpoint. Technique must have been very inferior, for musicians in Alsace were required to study only one or two years before taking up music as a profession. Their incomes, on the other hand, were probably substantial, as it is recorded that they were obliged to pay taxes. It is interesting to note at this early period that the city of Basle employed a violinist to play in a public place for the entertainment of the citizens.
So far we have endeavored to trace the progress of violin music through paintings, monuments and fugitive references in manuscripts, decrees and other documents. These references are not on the whole very clear and the nomenclature of early instruments of the violin family is very loose and confused. We know practically nothing about the music composed for these instruments. Their imperfect shape does not suggest music of an advanced kind, nor does it mean that the technique of the time was equal to very exacting demands. The famous blind organist, Conrad Paumann (1410-73), who could play on every instrument, including the violin, has left us in his Orgelbuch several transcriptions of songs which he may have played on the violin as well as on other instruments, and the dances and other pieces of free invention composed for other instruments may also have served as musical material for violinists. But all this is mere surmise.