Books › The history of the violin, and other instruments played on with the bow from the remotest times to the present. Also, an account of the principal makers, English and foreign, with numerous illustrations, 1864 › scan 45
Scan 45
The history of the violin, and other instruments played on with the bow from the remotest times to the present. Also, an account of the principal makers, English and foreign, with numerous illustrations, 1864
31 lines. Read by computer on 29 August 2026, twice; the two readings disagreed in places. Printed page 28. See the scan on archive.org.
1Lydgate is given, where the following instruments are named,—
3"Harpys, fythels, and eke rotys, one of two readings
4Wel accordyng with her notys, one of two readings
5Lutys, rubibis, and geterns, one of two readings
6More for estatys than taverns: one of two readings
7Orguys, cytolys, monacordys." one of two readings
9 "Harpys, fythels, and eke rotys, one of two readings
10 Wel accordyng with her notys, one of two readings
11 Lutys, rubibis, and geterns, one of two readings
12 More for estatys than taverns: one of two readings
13 Orguys, cytolys, monacordys." one of two readings
14Here we have the word fythel introduced. Gower says,—
16"He taught her, till she was certene one of two readings
17Of harpe, citole, and of riote, one of two readings
18With many a tewne, and many a note." one of two readings
20 "He taught her, till she was certene one of two readings
21 Of harpe, citole, and of riote, one of two readings
22 With many a tewne, and many a note." one of two readings
23And Chaucer's "frere,"—
25"_________ Certainly he had a merry note, one of two readings
26Wel coude he singe and plain on a rote." one of two readings
28 "_________ Certainly he had a merry note, one of two readings
29 Wel coude he singe and plain on a rote." one of two readings
30Very long before the time of these latter examples the rote had received various modifications and improvements in form, and the bow had been introduced. M. de Coussemaker has given the figure of a rote or crwth of the eleventh century, with three strings, and played on with a clumsy bow (Fig. 4). This has quite the character of the old crwth, and the method of using the fingers is shown. Another, given by him from the Cathedral of Amiens, of the thirteenth century, with six strings, has also many of the distinctive
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