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.96 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.
14
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 of ostensible data than is possible to be found in the Asiatic view of the subject. Tradition, accompanied by its attendant uncertainties, gives place to facts recorded in illuminated manuscripts of the Middle Ages, on sculptured stone, on engraved brasses, in the lay of the minstrel, in the song of the poet, and, finally, in the works of the painter and of the musician. The information obtainable from these several sources is often of the slightest kind, and admits of little else than a rude historical outline being drawn. The varied character of the evidence, however, serves in some instances to counterbalance the lack of detail.
Enquiry into the history of any science seldom fails to make us acquainted with men whose views and opinions were formulated prior to the production of well-digested evidence in favour of their premises--a condition of things resulting oftentimes in their judgments being post-dated, and their names in consequence severed from them; in short--
"Elder times have worn the same, Though new ones get the name."
In relation to our subject, the Hon. Roger North, Attorney-General to King James the Second, occupies a position of the kind described. In his work entitled "Memoirs of Music," written in the early part of the eighteenth century, we have the ingenious author's views as to the source from whence sprung the progenitor of the long line of Fiddle and Viol. His treatment of the subject displays a truly commendable amount of skill and judgment, and more so when we consider the limited sources of information at his disposal in comparison with those at the service of subsequent musical authors. He says, "There is no hint where the Viol kind came first in use." "But as to the invention which is so perfectly novel as not to have been heard of before Augustulus, the last of the Ro-man Emperors, I cannot but esteem it perfectly Gothic." "I suppose that at first it was like its native country, rude and gross, and at
the early importation it was of the lesser kind which they called Viola da Bracchia, and since the Violin." He concludes by expressing his belief that the Hebrews did not sound their "lutes and guitars with the scratch of an horse-tail bow." These opinions of Roger North are for the most part identical with those held by well-known promoters of the Northern view of our subject.12
12 Paul Lacroix remarks, in "The Arts of the Middle Ages": "Stringed instruments that were played on by means of bows were not known before the fifth century, and belonged to the Northern races." Sir Gore Ouseley, in his English edition of Naumann's "History of Music," commenting upon the author's statement that "the Rebab was introduced by Arabs into Southern Europe, and may be the precursor of all our modern stringed instruments," says, "From this view I am compelled to dissent," and speaks in favour
of the Northern origin. William Chappell, "Popular Music of the Olden Times," remarks: "I will not follow M. Fetis in his newly adopted Eastern theory of the bow.
