Despite all contrary assertions, based upon pretended monuments, Oriental, Greek, and Roman antiquity was unacquainted with instruments played with a bow. Neither India nor Egypt furnish the least traces of them; nor do Greece and Italy; nor, in fact, does the whole of the old civilized world. As I stated in the “RÉsumÉ Philosophique de l’Histoire de la Musique,” the bow comes from the West; it was introduced into the whole of Europe by the western nations. Though Viols are found among the modern Arabs in Persia and Turkey, they were taken there by Europeans in the time of the Crusades. The Goudock of the Russian peasant, and the Crwth of the ancient Irish, appear to proceed from the highest antiquity, and to have been the type of instruments of this nature. The Irish chroniclers speak of musicians who, in the sixth century, were celebrated for their talent on the Crwth, a species of Viol with six strings; and Venance Fortunat, a Latin poet who wrote in 609, states distinctly that this instrument belonged to Great Britain.

It is not my intention to follow up here the various transformations of bow instruments in the middle ages; it will suffice to observe that there were frequent changes in them from the thirteenth to the sixteenth century; as much in the common kinds, vulgarly called in French Rebec, and in German Geige ohne Bunde (Violins without band or side pieces), which possessed only three strings, as in the improved Viols, the body of which was formed of belly and back joined by side pieces, as in our Violins, Tenors, and Basses. The smaller kinds also possessed only three strings; the larger kind had four; there were also others with five, six, and seven strings.

In the middle ages, the Rebec, called Rubebbe, possessed but two strings. It is the same instrument which in Arabia acquired the name of Rebab. From the fifteenth century it is found with its three strings. This instrument took nearly the form of a mandoline; the neck and the body being formed of a single piece, the finger-board being as wide as the entire instrument, and reaching within a short distance of the bridge. No passage was left for the bow in the body of the instrument, but the body was very narrow, and the bridge formed a point for the middle string to rest upon, so that this string could be touched by the bow without touching the others. Like all instruments later than the fifteenth century, the Rebec was made of four different sizes, the smallest of which was called Discant, or upper; then followed, in progressively larger proportions, the Alto, the Tenor, and the Bass. The dancing-master’s Kit, of the latter years of the eighteenth century, was all that remained of the ancient Rebec.

The Viol was called Vielle in the middle ages. This is the Viola of the Italians, and the Vihuela of the Spaniards. There were several kinds. As early as the fifteenth century, one of this kind had a flat belly, and a place for fixing the strings similar to that of the Guitar. As in the Lute, and all stringed instruments played with the fingers, the finger-board was divided into distances for placing the fingers. From the fifteenth century the bellies of Viols assumed the raised or vaulted form, the backs remaining flat. The cavities at the side, which had formerly been very large and straight, were made in the shape of a section of a circle, and were reduced to the dimensions necessary for the use of the bow. The raised bellies rendered it necessary to alter the bridge into the bridge-shape, so as to incline towards the ribs. Hence the term Bridge, which is called by the Italians, from its form, Ponticello. The divisions for the fingers on the finger-board were retained on the Viols up to the second half of the seventeenth century. During the fifteenth century the vaulted form of Viol possessed five strings; in the commencement of the sixteenth it had six. The first string was called in Italy Canto, the second Sotana, the third Mezzana, the fourth Tenore, the fifth Bordone, and the sixth Basso.

The Viol was divided into three kinds, which were called Upper or Soprano, Tenor, and Bass. The Tenor was used also for playing the second upper part, or Alto; it was then tuned a note higher: the tuning of the upper Viol was, commencing from the first string, D, A, E, C, G, D; that of the Tenor tuned to Alto, A, E, B, G, D, A; the same instrument tuned to Tenor, G, D, A, F, C, G; and the Bass, D, A, E, C, G, D. At the commencement of the seventeenth century, the use of instruments specially for accompanying the voice became general; there was added to the other Viols a Double-Bass Viol, which was called Violone, that is, large Viol. This also had six strings, and was tuned a fourth lower than the Bass Viol, thus A, E, B, G, D, A. Prior to 1650, this instrument was rarely used in France, it was then called “Viole À la mode de Lorraine.”

In imitation of the vaulted form of Viol, there was made, already in the fifteenth century, a small instrument of the same kind, which the Italians called Violino, that is, small Viol. This is the instrument which was called Violon in France, and Geige in Germany.

It is probable that the Violin originally had the same number of strings as the other Viols; that these were tuned a fourth above the upper Viol, viz., G, D, A, F, C, G; and that the neck also possessed divisions for the fingers; but it was soon discovered that the finger-board of the Violin was not wide enough to allow any one to play with facility on so large a number of strings; and that the space for the fingers to produce the notes was too narrow to admit of divisions. These were removed; the strings, reduced to four, were tuned in fifths; making the first string E, as it is at the present day. It cannot be doubted that these improvements originated in France; for on reference to the list of instruments employed in the “Orfeo” of Monteverde, it will be seen that the Violin was called in Italy, at the end of the sixteenth century, and the beginning of the seventeenth, “Violino piccolo alla francese.”

The oldest maker of Violins on record was a native of Brittany, named Jean Kerlin. He followed his trade about the middle of the fifteenth century. La Borde, author of the imperfect and voluminous “Essai sur la Musique,” relates that he saw in Brittany a Violin with four strings, the neck of which did not appear to have been changed, and which, instead of the ordinary tail-piece, had a small piece of ivory inlaid, pierced with four holes. This Violin was thus labelled, “Joann. Kerlino, anno 1449.” It was afterwards brought to Paris, and Koliker, a musical instrument maker of that city, had it in his possession in 1804. The belly was more raised than in good modern Italian Violins, and was not equally rounded at the upper and lower extremities; the sides were ill-formed and flattened. Its tone was sweet and muffled, and resembled that of instruments made by Antonio Amati at the close of the sixteenth century. After Jean Kerlin, there is a lapse of sixty years in the history of the manufacture of Violins, for the only maker of this instrument whose name has come down to us is Gaspard Duiffoprugcar, born in the Italian Tyrol, who commenced making his Violins at Bologna about 1510, working afterwards in Paris, and at Lyons. One Violin only of the large pattern which bears his name is in existence; it is dated 1539. The quality of tone of this instrument is powerful and penetrating, but when played upon for some time, it loses its intensity. Like an old man, it needs repose to recover its faculties. The scroll represents the head of a king’s jester, with a plaited frill. This Violin belonged to M. Meerts, formerly first solo violinist of the Theatre Royal, Brussels, and professor at the Conservatory of that city.

Gaspard di Salo, thus called from being born in the small town of Salo, on the lake of Garda, in Lombardy, worked in the second half of the sixteenth century. He was specially celebrated for his Viols, Basses, and Double-Bass Viols, then more used than the Violin. Nevertheless, an excellent Violin of his make, dated 1576, was met with in a collection of valuable instruments which were sold at Milan in 1807; and the Baron de Bagge was in possession of one of which Rodolphe Kreutzer often spoke with admiration. These instruments, of rather a large pattern, possess a powerful tone, approximating to that of the Alto.

Contemporaneously with Gaspard di Salo, the two brothers, Andrea and Nicolo Amati became famous for the excellence of their Viols and Bass Viols; they also made excellent Violins, the tone of which was mellow and agreeable, but they were wanting in power, like all the instruments made by the members of this family. Andrea and Nicolo, about 1570, made Violins of a large pattern for the chamber music of Charles IX. King of France. These instruments were remarkable for the beauty of their form, and perfection of finish. They were covered with an oil varnish, of a golden colour, shaded with red. Two of these were seen in Paris by Professor Cartier about 1810. The successors of Andrea and Nicolo Amati retained in the family the fame of those artists for more than a century and a half. Antonio, son of Andrea, Geronimo, his brother, and Nicolo, son of Geronimo, were instrument makers of high repute, but the sonority of their Violins and Basses, admirably adapted for the music of their time, is much too weak for the modern noisy system; however, Paganini possessed a Violin of Geronimo Amati, of large pattern, which he prized most highly.

Two Italian makers were also famous at the beginning and towards the middle of the seventeenth century for their Violins: the first is Giovanni Paolo Maggini, who had an establishment at Brescia, his native town. His instruments are dated from 1612 to 1640. The pattern of these Violins is generally very large; although there are some of the small size. The bellies are raised, the back, rather flat at the extremities, swells out exceedingly towards the sides, which are very wide; the curves being well rounded towards the angles. A double row of purfling runs round both belly and back, terminating in some instances in an ornament at the upper and lower parts of the back. Most of Maggini’s Violins are varnished with spirit of wine, of a deep gold colour. Their tone is less mellow than that of the Stradiuari, and less powerful than the Guarnieri; it has more analogy to the tone of the Viol, and its character is somewhat melancholic. The second maker of that period celebrated in Italy is Giovanni Granzino; he resided at Milan, and worked there from 1612 to 1635. His Violins, of large pattern, resemble those of Gaspard di Salo.

The fame of Italy for the construction of bow instruments attained its zenith between the middle of the seventeenth century and the first half of the eighteenth. To this period belong the names of Stradiuari and Guarnieri. Antonio Stradiuari, better known under the Latinised name of Stradivarius, the most celebrated maker of Violins, Viols, and Basses, was born at Cremona in 1664; he reached his eighty-third year, working until his death in 1747. A pupil of the Amati, he worked a long time with them, and upon their models. Towards 1700 he left them, and from that time changed his proportions, increased his form, lowered the bellies, and was as fastidious in the degrees of thickness of the wood as he was in the choice of the wood he employed. Contrary to the principles of the older Italian masters, his thickness increased towards the centre, in order to give support to the bridge upon which the tension of the strings bears, and diminished gradually towards the sides of the instrument. All is calculated, in the works of this excellent artist, for the better production of tone. To these advantages are superadded equality in all the strings, grace of form, finish of details, and brilliancy of varnish. In a large concert room a good Violin of Giuseppe Guarnieri has more power of sonority; but in a drawing-room nothing can possibly equal the brilliant mellowness of a well-preserved Stradiuari. Unfortunately many have fallen into the hands of unskilful workmen for repairs.

The family of the Guarnieri or Guarnerius has also become illustrious for the manufacture of bow instruments. This family was also originally of Cremona, and constantly resided there, with the exception of Pietro Guarnieri, who settled at Mantua, and still resided there in 1717. The most celebrated of these makers is Giuseppe Guarnieri, called in Italy “Guarnieri del Gesu,” from his Violins bearing the mark IHS. He was born at Cremona at the close of the seventeenth century. It is said that he learned his trade in the workshop of Stradiuari, but he never attained his master’s delicacy of finish; on the contrary, his work evinces very frequently great carelessness. His sound-holes, nearly straight and angular, are badly shaped; his purfling badly traced; in fact, his instruments carry no masterly appearance, and one is tempted to believe that the excellent quality of their tone arises more from the happy choice of material than from studied principles. Nevertheless, on close inspection, it is evident positive principles guided him in the construction of his instruments; he has copied no maker who preceded him. He had two patterns, one small, the other large. The instruments of small pattern are the most numerous, their bellies are slightly raised, and their thickness rather exceeds that of the Stradiuari. The large patterns which proceed from Giuseppe Guarnieri are few in number, and rarely met with. It was upon one of these Violins that Paganini played at all his concerts. The tone of these instruments is exceedingly brilliant, and carries to a great distance, but is less round and mellow than the instruments of Stradiuari, and pleases less near than at a certain distance.

After Stradiuari and Giuseppe Guarnieri, the art seems to have remained at its highest point of excellence, and the Italian makers appear not to have sought to improve, contenting themselves with copying the one or the other of these masters. Lorenzo Guadagnini, a pupil of Stradiuari, copied the small pattern of his master. The first and second string of his Violins possess brilliancy and roundness, but the third is unfortunately muffled. He had a son, who worked at Milan until towards the end of 1770, following the style of his father; but his instruments are less sought after. The Gagliani also copied the Stradiuari, but their instruments are far from equalling those of the master, doubtless from want of care in the selection of material. Ruggieri and Alvani copied the form of Giuseppe Guarnieri; they produced good Violins, which are less valuable, however, than the Stradiuari.

The Tyrol lays claim to some excellent makers of bow instruments, the chief of whom is Jacob Stainer, who was born about 1620, at Absom, a village near Inspruck. This celebrated maker, at three different periods, changed his make. Firstly, while pupil of the Amati of Cremona: the Violins of this period are admirably finished, and are extremely scarce. The belly is more raised than in the Amati, the scrolls longer and wider in the lower part. All the labels of these Violins are written and signed in his own handwriting. One of these magnificent instruments, dated 1644, was the property of Gardel, ballet-master of the Opera at Paris, who performed upon it successfully in the ballet of “La Dansomanie.” Secondly, when established at Absom, after having married, he produced an immense number of instruments carelessly finished, from 1650 to 1667. However, after having led a life of poverty for several years, obliged to hawk his own Violins, which he sold for six florins each, he received orders from some noblemen, which improved his position. His genius from this period took a new flight, and he produced some splendid instruments, which are recognised by scrolls that represent heads of animals, by the close veining of the bellies, by the close and even small ribs, and by the varnish, resembling red mahogany faded by time into a brown colour. Stainer was assisted at this time by his brother Marcus, who later in life entered the order of the Brother Hermits, by the three brothers Klotz (Mathias, George, and Sebastian), and by Albani, all of whom were his pupils. The reproach attached to Stainer’s instruments of possessing a nasal tone applies only to this period, the labels of which are printed; there are, however, some admirable instruments of this time, which were in the possession of the violinist Ropiquet, of the Marquis de las Rosas, a grandee of Spain, of the Count de Marp, a Parisian amateur, and of Frey, an artist of the Opera, and publisher of music. There is an excellent Tenor of this period, formerly the property of M. MatrÔt de PrÉville, governor of the port of L’Orient.

The third period of Stainer’s career commences from his retiring into a convent after the death of his wife. In the tranquillity of the cloister, he determined to close his artistic life by the production of chefs-d’oeuvre. Having obtained some wood of the first quality through the medium of his superior, he made sixteen Violins—models, combining every perfection; sent one to each of the twelve chiefs of electorates of the Empire, and presented the remaining four to the Emperor. Since then, these instruments are known under the name of Stainer-Électeurs. Their tone is pure, metallic, and aerial, like the beautiful voice of a woman; they are graceful and elegant in form, exquisitely finished in all the details, and have a transparent varnish of a gold colour; such are the qualities which distinguish these productions of the third and last period of Stainer’s talent. The labels are in the hand-writing of this celebrated maker. Three of these rare instruments only are now to be met with; the fate of the others remains unknown. The first was given by the Empress Maria Theresa to Kennis, a Belgian violinist from LiÈge, after whose death it was taken to England, and became the property of Sir Richard Betenson, Bart. Another Stainer-Électeur was purchased in Germany in 1771 by the Duke of Orleans, grandfather of King Louis Philippe, for the sum of 3,500 florins. Afterwards, this prince, having discontinued playing the Violin, gave it to the younger Novoigille, in token of the pleasure he experienced in hearing him accompany Madame de Montesson. This precious Violin became the property of the violinist Cartier in 1817; it was in the hands of this artist when I heard and saw it. The third Violin Elector was in the possession of the King of Prussia, Frederick William II.

After leaving Stainer, the Klotz family copied his models of the second period, and these instruments are not unfrequently mistaken for those of the master; they are, however, readily distinguished by the varnish; that of Klotz, instead of a deep red, has a black ground shaded with yellow; the tone of Mathias Klotz’ instruments is silvery, but of little power. These artists produced many pupils in the Tyrol, who imitated the Cremona models; but these imitations are easily discoverable by the inferior quality of the wood, the varnish, which is very dark, and the tone, which is deficient in every quality. The ancient manufacture of musical instruments in France, incontestably inferior to that of Italy, is represented, during the reigns of Henry the Fourth and Louis the Thirteenth, by Jacques Bocquay, born at Lyons, who settled in Paris; Pierret, his townsman, who produced more instruments, but of inferior finish; Antoine Despons, and Adrien VÉron; these makers generally copied Amati. The Violins of the successor of Bocquay, Guersan, his pupil, are of small pattern, and finely finished. They have become extremely scarce; it is supposed that there are not more than twenty which can be considered as his own make; these are varnished in oil. The others were made in his workshop by his pupils; they are of inferior quality, and varnished in spirits of wine. The contemporaries of Guersan at Paris were Castagnery and Saint-Paul, whose Violins were formerly esteemed for accompaniment. After these came Salomon, whose instruments rivalled those of Guersan. Towards the end of the reign of Louis the Fourteenth, Lagetto enjoyed a certain reputation. As regards the ancient manufacture in the provinces of France, there is nothing which rises above mediocrity, with the exception of MÉdard, a contemporary of Geronimo Amati, whose models he copied. He lived at Nancy at the commencement of the seventeenth century. Lambert, surnamed “Charpentier de la Lutherie,” lived a century later in the same town. He produced nothing of any note. Saunier, his pupil, surpassed his master in finish; but in general Lorraine was the country of industry, not art.

In the modern manufacture of instruments at Paris, Finth is specially distinguished. He was a German, who worked about 1770, and followed the proportions of Stradiuari; all his Violins, varnished in oil, are finished with care. They were greatly sought after in the first instance, but a change of taste followed, and opinion fell into a contrary excess. After Finth came Picte, a pupil of Saunier, whose Violins were given as prizes to the pupils of the Conservatory of Paris, at the beginning of the present century; they have been esteemed of little value. Not so with Lupot, who came from Orleans to settle in Paris in 1794. He studied, with great perseverance, the proportions of Stradiuari, incontestably the best, and selected the finest wood that could be obtained. Lupot made the manufacture of Violins his great study, and their finish a work of love. They are highly esteemed, and stand next in value with artists to good Cremona instruments.

Thus far we have only seen the manufacture of bow instruments cultivated by inspiration or by imitation; science was not brought to bear as an element in the construction of these instruments; but we have arrived at a period of transition in this respect, less perhaps, from the results obtained, than from the foundations which have been laid: and I will first advert to the several essays which have been made with the view of dispensing with certain portions of the instrument, considered as obstacles to the free production of vibration.

The first essay of this kind was made in 1816 by FranÇois Chanot, the son of an instrument-maker of Mirecourt, afterwards an engineer in the navy. Convinced that the best means of producing vibration in all the various parts of the Violin was to preserve, as far as it was practicable, the fibres of the wood lengthwise, he concluded that the shoulders of the ordinary Violin, with their angles, were insuperable obstacles to a free and powerful quality of tone; he believed, also, that the hollowing out of the belly to give it the vaulted form was contrary to theoretical principles, and consequently a radical error. He was persuaded, moreover, that short fibres favoured the production of acute tones, and long fibres grave ones. Upon these principles he constructed a Violin, the belly of which was only slightly raised, the sound-holes nearly straight, and, in place of sloping the instrument after the ordinary form, he depressed the sides gradually, similar to the body of a Guitar. With a view of favouring as much as possible the vibration of the belly, he attached the strings to the lower part of it, instead of to the ordinary tail-piece. This done, Chanot submitted his Violin to the Academies of Sciences and Fine Arts of the French Institute, and a favourable report of the essay was published in the “Moniteur Universel” on the 22nd of August, 1817. The judgment pronounced by these institutions has not been confirmed by the opinion of artists. It is to be remarked, that what Chanot conceived to be a discovery was simply returning to the form of Viols of the middle ages; that the form had been adopted by able makers, and that there is still extant a Bass Viol of Gaspard di Salo, the angles of which are removed, in the possession of M. Frazzini at Milan; that another Bass of the same form, constructed by Pietro Guarnieri, belongs to M. Cappi at Mantua; and that M. de Rovetta of Bergamo, possesses an old Violin of the same form. The artists who made these essays discovered that the results did not answer their expectations.

A retired officer of the Italian army, M. Galbussera, reproduced the pretended invention of Chanot in a Violin which he exhibited in the Palace of Brera at Milan in 1832. M. Antolini, of that city, a distinguished artist, criticised in a small pamphlet the false principle which led to this return to primitive forms.A

Some years after Chanot’s Violin had been consigned to the department of the museum specially devoted to this object, Felix Savart, a physicist of eminence, struck with the discoveries of Chladni on the communication of vibrations and regularity of sonorous waves, devoted himself with great ardour to the application of these discoveries in the construction of bow instruments, and after several experiments, made with great sagacity, he arrived at the following deductions:—1st, When two or a larger number of bodies, whatever they may be, come into immediate contact, and one is directly put into motion, they all produce the same number of vibrations at the same time; 2nd, All these vibrations follow parallel directions; 3rd, The increase of the sound of any kind of body—for example of a string—depends upon the simultaneity of the vibrations of the bodies with which this string is in contact; and this increase is carried to its highest point when the bodies put into motion by communication are in such conditions that, if they were directly put into motion, they would produce the same number of vibrations as the body acted upon in the first instance. The chief consequences of these principles are, that the vibrations produced by the strings of the Violin are communicated to the belly by the bridge, from the belly to the back by the sounding-post; and that the oscillations, in equal number, of all these bodies, cause equal vibration, and, by similar numbers of oscillations, to the mass of air held in suspension within the body of the instrument; hence it follows that the object in the construction of this sonorous box is to favour as much as possible the communication of the sound-waves, and to bring them into harmony. In seeking the application of this theory to the manufacture of bow instruments, Savart fell into error in the first pamphlet he wrote upon this subject,B when he expressed the opinion that the curves, the angles, and the raised belly adopted by the old manufacturers could only have proceeded from the prejudices of routine; but he discovered this error while prosecuting the continuation of his studies, and he ultimately extolled the proportions of Stradiuari, which he first believed to be only favourable to good effects from considerations which the celebrated maker had not perceived.

A manufacturer of the greatest intelligence, M. Vuillaume, sen., born at Mirecourt, and settled in Paris, devoted himself to the principles of constructing bow instruments, at the very time Savart was occupied in endeavouring to discover them. These two ingenious men, in constant communication with each other on this subject, reciprocally aided each other. The artist brought to the man of science the tribute of his experience, and the man of science to the artist the result of his meditations. Vuillaume had been for a lengthened period engaged in experiments on the density, homogeneity, and the elasticity of various woods, convinced of the importance of this matter for the solution of most of the problems of acoustics relative to the sonorous quality of instruments. He was thus enabled to discover the most suitable wood to be used in the repairing of ancient instruments, as regards their quality or their defects, and the most signal success crowned his researches. Many instruments of great price, after having been deteriorated by unskilful hands, recovered their former value through the ability of this distinguished maker. What he acquired in this respect, he applied to all instruments of his own manufacture, and his deep study of the proportions of the best ancient instruments, joined to his knowledge of the special nature of woods, and the laws of vibration, has enabled him to produce a multitude of very superior instruments, which require only time to be stamped with excellence.

It will be seen, from what has been said, that the art of constructing bow instruments has departed from the prejudices of routine, working in the dark, and by imitation, to pursue the wake of science, of observation, and of calculation. There can be no doubt that this is a real progress; but to shield this progress from all contestation, the effect of time is requisite. To bring a good instrument to that state of equilibrium which will make its qualities manifest, on the one hand it is necessary that the materials employed in its construction should, for a lengthened period, be submitted to the action of the various states of temperature and atmosphere; and on the other, that the elasticity of its various parts should have been put for a long time into action, to acquire all its development.