The oldest known representation of a contrivance or instrument upon which a string is stretched with a peg to adjust its tension, is probably that described by Dr. Burney as having been seen by him at Rome on an Egyptian obelisk. In a notice of Claudius Ptolemeus, an Egyptian, who wrote upon harmonic sounds about the middle of the second century, we have an illustration of an instrument of a similar character to that found on the obelisk above noticed.5 In all probability neither of these contrivances was intended to be used as a musical instrument further than for scientific purposes, as a means of testing the tension of strings and the division
of the scale: in short, they were monochords and dichords.
5 Sir John Hawkins' History.
In following the Eastern branch of our subject, it is necessary to refer to the suggested Arabian origin of the Ribeca of the Italians and the Rebec of the French--a little bowed instrument, shaped like the half of a pear, and having therefore something of the character of the mandoline. We have early mention of this particular view of Violin history among the valuable and interesting manuscript notes of Sir John Hawkins.6 The author states that the Rebab was taken to Spain by the Moors, "from whence it passed to Italy, and obtained the appellation of Ribeca." He also refers to a work entitled "Shaw's Travels," in which mention is made of
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the Rebeb or Rebab as an instrument common in the East in the eighteenth century. It is, however, upon turning to the dissertation on the invention and improvement of stringed instruments by John Gunn, published in 1793, that we first find a lucid account of Eastern influence in connection with bowed instruments.7 The author refers to the monochord as the invention of the Arabians:
he then says, "The early acquaintance which it is probable the Egyptians had of the science and practice of music, was the source whence the Arabians might derive their knowledge. There is a remarkable correspondence between the dichord of the Egyptians and an instrument of the like number of strings of the Arabians. This instrument was played with a bow, and was probably introduced into Europe by the Arabians of Spain, and well known from the Middle Ages down to the last century by the name of the Rebec; it had probably, on its first introduction, only two strings, as it still has among the Moors, and soon after had the number increased to three. Dr. Shaw, who had seen it, calls it a Violin with three strings, which is played on with a bow, and called by the Moors Rebebb." In passing it may be said that the translators of the Bible, historians, painters, and poets have in many instances contributed greatly
to the confusion attending the history of bowed instruments from their inability to correctly name and depict corded instruments. About a century after the publication of Dr. Shaw's "Travels in the East," appeared Lane's "Modern Egypt," wherein reference
is made to an instrument named Rebab. It is described as being made partly of parchment, and mounted with one or two strings, played on with a bow. These instruments appear to be identical. We do not usually look to the East for progressiveness, and would therefore not expect to discover much difference between a Rebab of the nineteenth century and one of the eighth century. In taking this view we may therefore assume that the existing Rebab has nearly all in common with its Eastern namesake of the eighth century. The rude and gross character of the instrument is remarkable, and renders any connection between it and the Rebec of Europe in the Middle Ages somewhat difficult to realise. Having no certain knowledge of the form of the ancient Rebab, our views regarding its connection with the Rebec must necessarily be speculative, and mainly dependent upon the etymological thread which is drawn between the words Rebec and Rebab. It is worthy of notice in relation to the opinion held by Sir John Hawkins and many other musical historians as to a bowed instrument of the Fiddle kind having been introduced into Spain from the East in the eighth century, that we possess no certain evidence of bowed instrument cultivation in Spain between the eighth and twelfth centuries, whilst we have proof of the use of bowed instruments both in Germany and in England within that period.8 The evidence we have of the use of a description of Viol at that time, from the carvings on the Portico della Gloria of the Church of Santiago da Com-postella, does not carry conviction that a bow was used, since none is represented.9
6 Hawkins' "History of Music" was published in the year 1776. The MS. notes, which are attached to the author's copy in the British
Museum, were included in the edition published in 1853 by Novello & Co.
7 It may be remarked that nineteen years prior to the publication of John Gunn's dissertation was published the valuable work of Martinus Gerbertus, "De Cantu et Musica Sacra," dated 1774. The volumes of Gerbertus were evidently perused with care and attention by Gunn. The references of John Gunn to the work are the earliest I have met with.
8 Mention is made by Ash-Shakandi, who wrote on Moorish music in Spain in the thirteenth century, of the Rebab. If this instrument was not more developed than its modern namesake, we have evidence of the Saxons being in possession of bowed instruments infinitely superior at a much earlier date.
9 In "The Violin and its Music," 1881, page 50, I have assumed their use by the performers on the above mentioned arch, believing it not improbable that the use of the bow was introduced by the settlers in Spain from the North.
That the Spanish were influenced by their Moorish conquerors with regard to music, minstrelsy, and dancing is certain. The origin of such movements as the Saraband, the Morisca (or Morris dance), and the Chaconne,10 has been traced to the East. That such dances should have been accompanied by instruments of Eastern origin of the Lute kind may be assumed. Both in Spain and southern France accompanying instruments struck with plectra or twanged with the fingers were adopted at a very early period, and the peo-ple of those parts attained to a high state of proficiency--so much so indeed as to have rendered the cultivation of this description of music a national characteristic with them in the use of such instruments. The usage of the bow, however, does not appear to have
been cultivated sufficiently, if at all, to leave its traces in history, until about the twelfth century, when the Troubadours sought the aid of the Trouveres and Jongleurs. The Trouveres were minstrel poets belonging to Northern France. The Jongleurs entertained their patrons with jests and arch sayings, and were often joined by the Gigeours of Germany, to accompany their lays with their Geigen and kindred instruments.
10 It need scarcely be said that the Eastern and Spanish ancestor of Bach's Chaconne was terpsichorean, and was unconnected with
any kind of scientific musical treatment.
The foregoing remarks point to the absence of reliable evidence of the existence of a bow--worthy of the name from the point
of view of a Violinist--among the Asiatic nations in the early centuries of our era. The Ravanastron of India, the Rebab of Arabia, and other stringed instruments used by the Persians and the Chinese, hardly admit of being looked upon as links in the genealogical Fiddle chain. Whatever the shape and use of ancient Eastern instruments--having something in common with the European Vio-lin--may have been, the slight apparent affinity is accidental, and no real relationship exists between the European and the Asiatic Fiddle.11
11 Mr. Engel, "Researches into the Early History of the Violin Family," page 104, remarks: "It is rarely that the name of an Asiatic musical instrument can be traced to a European origin. There are, however, one or two instances in which this seems to be possible.
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Thus, the Chinese name Ye-Yia, by which they occasionally designate their Fiddle, may possibly be a corruption of giga or geige, considering that the common name of the Chinese Fiddle is Unheen, and that Macao, where this instrument is said to be called Ye-Yin, has been above three hundred years in the possession of the Portuguese, and in constant communication with European
nations." This seems to deprive the argument of the Eastern origin of the Fiddle of weight, and favours the already strong evidence of Scandinavian origin centred in the word Geige.
2.
The survey of the early history of bowed instruments in the North of Europe necessarily discovers a broader field