Violin-making, as it was and is : being a historical, theoretical, and practical treatise on the science and art of violin-making, for the use of violin makers and players, amateur and professional . 62 VIOLIN-MAKING I AS IT WAS AND IS. Ruhlmannl gives a most interesting specimen (Fig. 34) froma sculpture at Freiburg of the twelfth century, which is a mostvaluable link in the chain of evidence which connects the crwthwith the rotta, for it is identically the latter instrument as illus-trated from the St. Blasius MS. by Grerbert,2 with the addition ofa bow and a finger-board behind the strings.
Violin-making, as it was and is : being a historical, theoretical, and practical treatise on the science and art of violin-making, for the use of violin makers and players, amateur and professional . 62 VIOLIN-MAKING I AS IT WAS AND IS. Ruhlmannl gives a most interesting specimen (Fig. 34) froma sculpture at Freiburg of the twelfth century, which is a mostvaluable link in the chain of evidence which connects the crwthwith the rotta, for it is identically the latter instrument as illus-trated from the St. Blasius MS. by Grerbert,2 with the addition ofa bow and a finger-board behind the strings. It has six strings,four on and two off the finger-board, as in the most perfect de-velopment of the instrument, differing only in that these two last,. Fia. 34.—Crwth of the Twelfth Century. (Ruhlmann. instead of both being on one side of the finger-board, are placed oneon each side thereof. Now the only difference between the earliestcrwths (or chrottas) and the latest rotes (or rottas) seems to be(especially in the last instance referred to) the addition of the bowand finger-board, and so it would not be out of the way to assertthat the instruments are identical, the former being the laterand improved form of the latter, and certainly the similarity of 1 J. Ruhlmann, Geschichte der Bogeninsfrumente (Brunswick, 1882), 2 M. Gerbert, De Cantu et Musica Sacra, 1774. THE WELSH CRWTH. 63 names is worthy of remark (though it must be borne in mindthat, as I have said before, names have not unfrequently beentransferred from one instrument to another ; similarity of namesis of very little practical value to the antiquary). A crvvth orcrwdl of the thirteenth century from Worcester Cathedral(Fig. 35) given by Garter,3 shows a very great impr
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Keywords: ., bookcentury1800, bookdecade1880, bookpublisherlondo, bookyear1885
