Scan 55
The violin: its famous makers and their imitators, 1884
10 lines. Read by computer on 28 September 2026. Printed page 9. See the scan on archive.org.
1worthy 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.* 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 Compostella, does not carry conviction that a bow was used, since none is represented.†
3That 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‡ has been traced to the East.
5* Mention is made of Ash-Shakandi, who wrote on Moorish music in Spain in the thirteenth century, naming 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.
7† 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.
9‡ 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 computer misreads some letters and numbers. Where a name matters to you, read the scan.