The essential feature of the violin is the incitation of the vibration by means of the bow. We do not know when or where this art was discovered, but it is supposed to have been in the remote east, at a very early period. The argument of Fétis, that since the Sanskrit has four terms for bow, according to the material of which it was made, therefore the art of the bow must have been known before the Sanskrit ceased to be a spoken language, has little weight. For while it is true that Sanskrit was not a spoken, or, more properly, a living, language in ordinary life after about 1500 B.C., it is true, on the other hand, that it remained in use as a language of religion and of the learned down to times very recent. In that case there would necessarily be additions made to it from time to time, as new concepts came up for expression, in the same manner as additions were made to Latin during the Middle Ages, and even in modern times. Still, all the nations around Hindostan have the tradition that the art of playing music by means of a bow is very old, the Ceylonese attributing the invention to one of their kings who reigned about 5000 B.C. Their ravanastron is very crude. (See [page 72].) A similarly simple instrument is in use to the present day in many parts of the east. The Arab form of it, known as the rebec, is represented on [p. 113], [Fig. 23]. It has two strings of silk, and is played with the point downward, like a 'cello. It is not possible after this lapse of time to determine which was the original form of the violin in Europe. Very early we find the crwth in the hands of the Celtic players, as noticed in [chapter VI]. The form given in [Fig. 22] ([p. 107]) is rather late, most likely, and somewhat of a degradation, since many of the elements of the violin are wanting in it. The clumsy resonance body is of the same width all the way, preventing the depression of one end of the bow in order to avoid sounding adjacent strings. As the bridge of the crwth was nearly flat, the adjacent strings were octaves, or related in such a way that when sounding together chords were produced. Many have supposed that all the strings were sounded together at each drawing of the bow. This is not impossible, for in one of the sculptures on a capital in the old church at Boscherville in Normandy a stringed instrument is represented in which the tone is produced by a revolving bow, on the principle of the hurdy-gurdy, whereby chords must have been produced continually. (See [p. 208].) The same carving has two stringed instruments of the violin family, one held like a violin (No. 6), the other bass downward, like a 'cello (No. 1). These two figures are fragments of the same carving. They are supposed to date from about the eleventh century. Many similar representations occur, such as the following from old manuscripts.
Fig. 38.
These oval instruments had the same deficiency as the crwth, in respect to indentations at the side of the instrument, for permitting the depression of the bow. The oldest type of this instrument in use appears to have been the form known as the rebec, the Arab form, which came into Europe in the time of the crusades. According to certain authorities this was the primitive type from which our violin was derived. The form is better shown in the cut on [page 196], which is from an Italian painting of the thirteenth century.
The body of the rebec was pear-shaped. It was contemporaneous with many other forms partaking of the shape of the guitar. From this came the family of viols, which were very popular in England during the fifteenth and sixteenth centuries.
The viol differed from the violin family proper in having a flat back like a guitar, and rounded corners. The only individual of the viol family which attained to artistic development was the viol da Gamba, or bass viol, which was tuned like a lute, having six strings. This instrument was a favorite with many amateurs until late in the eighteenth century. (See [p. 197].)
Fig. 39.
ANGEL PLAYING A REBEC.
[From an Italian painting of the thirteenth century.]