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 . d D, from painting by Hemling. E, from Raphaels * Crown-ing of the Virgin, in the Vatican. yet e and b are most interesting, as showing respectively theviolin and double-bass bow of the epoch, b, Fig. 58, the bowof a trumpet marine, is from a MS. in the Monastery ofSt. Godehard, of Hildesheim ; and E we may consider trust-worthy, being from a picture by Raphael, in the Vatican. Inthe sixteenth cen
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 . d D, from painting by Hemling. E, from Raphaels * Crown-ing of the Virgin, in the Vatican. yet e and b are most interesting, as showing respectively theviolin and double-bass bow of the epoch, b, Fig. 58, the bowof a trumpet marine, is from a MS. in the Monastery ofSt. Godehard, of Hildesheim ; and E we may consider trust-worthy, being from a picture by Raphael, in the Vatican. Inthe sixteenth century, which saw the actual introduction of theviolin, and when books began to be written on the instrumentsthen in use, our evidence on the forms of the bow becomes THE BOW. 91 practically certain, though artistic representations of bows ofthe most elementary description continued to be produced, justas they are now. In Fig. 59, c and b (the latter especially)may be considered trustworthy, being from illustrated workson instrumental music. E, F, and G, the first and last par-ticularly, may be taken as artistically fanciful. F is froma musical work, but the designator has evidently paid little. Q=^
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Keywords: ., bookcentury1800, bookdecade1880, bookpublisherlondo, bookyear1885
