Scan 29
Researches into the early history of the violin family, 1883
6 lines. Read by computer on 3 September 2026. Printed page 19. See the scan on archive.org.
1the two sound-holes of the violin. The Chinese stringed instruments are generally of plain wood, neither painted nor lacquered, because these additions are thought to be injurious to the sonorousness. Those of the Japanese are often lacquered, and also here, as has been intimated, two sound-holes are sometimes merely painted upon them, without their being pierced into the sound-board. What can be the origin and object of this fancy?
3Again, our antiquated viols had frequently a single circular soundhole placed in the centre, as is the case with the guitar. This soundhole was usually ornamented with a so-called rose, consisting of an elaborately and tastefully carved design. The designation "rose" it perhaps obtained from its resemblance with the circular window having compartments of tracery branching from a centre, and called in architecture a rose-window. The lutes of our forefathers were often beautifully embellished with these designs. But, there can be no doubt that the ornamentation is of Asiatic origin. On referring to the engraving of the two-stringed rebab on page 84, the reader will observe that the instrument is perforated with three roses. The Arabs may have adopted this contrivance from the Persians, from whom they appear to have borrowed, as I shall presently endeavour to show, several of their instruments played with a bow. As regards the Persians, there are indications—which it would lead too far here to point out—suggesting that they obtained several of their instruments from the Hindus. However this may be, the Arab-Persian instruments which we find at the present day in Hindustan have evidently been introduced into that country since about A.D. 1000, when the Arab irruption commenced.
5Without further indulging in these speculations, which deserve careful regard by inquirers who desire to trace the ancient connection of our instruments played with a bow with those of Asiatic nations, I cannot refrain from noticing one more Asiatic fiddle, which, as far as I am aware, approaches our violin in form more closely than does any Hindu instrument. I am alluding to the thro of the Burmese, of which an illustration is here given. The thro is mounted
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