The Bow, Its History, Manufacture and Use Part 2

[Ill.u.s.tration: FIG. 16.]

[Ill.u.s.tration: FIG. 17.]

Similar bows to the above appear to have been pretty general in the tenth century. In the eleventh century a little more variety is apparent, as will be seen in Fig. 18.

[Ill.u.s.tration: FIG. 18.]

Here are to be found the survival of the ninth century form shown in Fig. 17, and a remarkable advance in the form of the one at the bottom, which is doubtless the pattern intended to be shown in the sculptured bow, second from the top. The top one is merely given as an example of the perfunctory work the historian has to examine and yet retain his customary calm exterior.

Fig. 19 gives some examples of twelfth century bows as depicted by the artists of that period. The first two are evidently intended to represent the type shown in Fig. 17. The sculptor probably found the straight line of the hair inelegant. The third (which is from a MS.

in the Bodleian Library) and last show a return to the ninth century form in Fig. 16.

[Ill.u.s.tration: FIG. 19.]

This is a form that is found so continually through all the centuries, down to the seventeenth and eighteenth, that I am inclined to the belief that it is fairly accurate. It is very much like the outline of the modern double ba.s.s bow. In Fig. 20 are given some thirteenth century bows: the one with the curious sword-hilt is remarkable. In the others we find a return to more primitive lines.

[Ill.u.s.tration: FIG. 20.]

The fourteenth century bows have very little to distinguish them from those of preceding ages, and I give the most noticeable examples I have found in Fig. 21. The second is a very advanced type. Against these must be set those in Fig. 22.

[Ill.u.s.tration: FIG. 21.]

[Ill.u.s.tration: FIG. 22.]

These appear to me as being most probably conventional representations, or copied from older works as suggested above.

Of fifteenth century bows, the pictorial and plastic arts record those shown in Fig. 23, together with the usual atavism or return to earlier types.

[Ill.u.s.tration: FIG. 23.]

This atavism, if credible, is most marked in the sixteenth century as witness those in Fig. 24.

[Ill.u.s.tration: FIG. 24.]

Here are bows that take us back to before the Norman Conquest, drawn by artists who were contemporary with Gasparo da Salo and Andreas Amati. It is quite out of the question to suppose that such bows were used at that time.

The drawings of seventeenth century bows are more convincing. We then get a more definite idea of the nut, which was in most cases a fixture. Also, the head begins to mould itself into something approaching the form of the modern "hatchet."

Although there are cases of bows in drawings as far back as the eleventh century (see Fig. 18, etc.) showing great advances, it is not until reaching the seventeenth century, that one can say with any degree of confidence that the perfect bow is on the horizon.

CHAPTER IV.

THE BEGINNINGS OF THE MODERN BOW--ORNAMENTATION--A POSSIBLE STRADIVARI BOW--THE MOVABLE NUT--THE CReMAILLeRE--THE SCREW NUT.

I find it a matter for extreme regret that there should be such a large element of uncertainty in what I am able to bring forward of the earlier historical aspect of the bow. Of its primitive use one can do little more than examine contemporary evidence in the East, and then a.s.sume, albeit with some show of reason, that the same forms have survived from remote periods. Coming to the mediaeval bow we appear to tread on safer ground; bows are depicted in miniatures, ma.n.u.scripts, paintings, etc., from the eight and ninth centuries onwards, and in nearly every case we can determine the date of the production and frequently its author. So far nothing could be more satisfactory, but as I have said above, there are very few examples that impress one as being accurate representations.

Proceeding to the seventeenth and eighteenth centuries, I am further frustrated in my attempt to elucidate the obscure pa.s.sages in the bow's history by a reversal of those conditions. I can now lay before my readers drawings and photographs of bows the accuracy of which I can guarantee, but placing them in perfect chronology is, unfortunately, little more than guess work. Such was the modesty of their makers that the early bows were all sent into the world nameless. Many of them are marvels of workmans.h.i.+p, and, though utterly unscientific in construction and unfit for the requirements of modern violinists, they are for the most part exquisite works of art upon which no pains have been spared.

Some of the fluting and other ornamentation is little short of marvellous in point of design and finish.

To a casual writer like myself the ma.s.s of conflicting detail found on examining ancient bows and the records of their use is extremely disconcerting. The practised scientist, however, surveys such things with calmness, for his trained eye immediately selects those details that support the theories he wishes to promulgate, and the rest are quietly consigned to oblivion.

In this way the most charmingly satisfactory results are obtained.

Thus Fetis, in his article on Tourte, gives a brief outline of the history of the bow, ill.u.s.trating the same with what purports to be a "_Display of the successive ameliorations of the bow in the seventeenth and eighteenth centuries._" This consists of a series of drawings of bows ranging from Mersenne in 1620 through those used by Kircher, Castrovillari, Ba.s.sani, Corelli, Tartini and Cramer to that of Viotti in 1790. Herein is shown how the arched bow gave place to the straight: and this in its turn to that having the inward curve known as the "spring" or _cambre_. The succession is perfect, and it is only the final drawing of the series (the Viotti bow of 1790) that shows this _cambre_.

Now, in the collection of ancient bows kindly lent me by Mr. A. Hill for the purpose of ill.u.s.trating these pages are several bows of a much earlier date, yet having the _cambre_ most p.r.o.nounced and, in some examples, extremely elegant.

Not being a scientist, I do not know how to omit these evidences of advance at such an early date from my writings on this subject, although I feel that by not doing so I am rendering this section of the work far from clear.

As a matter of fact clearness in what we can ascertain of the bow's history is a quality conspicuous by its absence; a condition doubtless due to the varying capacities of early bow makers, some of whom may have continued to make antiquated types whilst others of greater talent were antic.i.p.ating in a measure the results of Tourte's genius and observation. It has been observed in other branches of the world's progress that many have groped in the right direction for a s.p.a.ce until there came one Genius who grasped, almost by intuition, the various requirements and produced the perfect work beyond which no man could go.

Entering upon the seventeenth century I now abandon the use of pictorial records of bows in favour of drawings and photographs made from actual specimens now in existence.

In Fig. 25 I give the heads of three remarkably interesting bows. I have drawn them the exact size of the originals. The first is most primitive throughout, though having an ingeniously contrived nut of which I shall speak more fully further on. The length of this bow is nearly 23 in.; the distance from the inside surface of the stick at the heel to the hair is 3/4 in., and the width of the hair is 1/4 in.

[Ill.u.s.tration: FIG. 25.]

The second bow is extremely elegant, although useless as a bow: note the grace of the long peak. It is seldom that one finds these peaks so well preserved as many have been first broken and then cut down to remove the unsightly jagged end. The dimensions of this bow are:--Total length, 28-1/8 in.; length of hair, 23-1/4 in.; distance of hair from stick at heel, 3/4 in.; breadth of hair 1/4 in. The nut is on the same principle as the preceding one.

The third bow may be late seventeenth or early eighteenth century work. It is beautifully fluted throughout its entire length, the lower third having an extra raised line between the fluting. It is remarkable inasmuch as it has a movable nut working with a screw as in the modern bow and also a distinct _cambre_. The inward deviation of the stick from a straight line is a full quarter of an inch in 25-1/2 in.; but this is too low down to give the bow a good spring.

Being made, like the others in this figure, of that unyielding material snakewood, the experiment, though in the right direction, cannot be said to have been successful. The full length of this bow is 28-1/2 in.; the length of the hair, 23-1/2 in.

Plate I. is a photograph of an extremely interesting bow. Like the preceding example it has the conventional nut and _cambre_. In the matter of ornamentation it is probably unique. It is not only fluted throughout, but is inlaid with a minute mosaic of red, yellow and brown woods. In appearance it reminds one of the straw-work so popular at one period. Inlaid on one side of the nut are seen the Arms of Spain, and on the reverse is the Royal monogram. Mr. Alfred Hill procured this bow with some difficulty in Madrid and was able to trace its pedigree in so far as that it was originally with the instruments made by Stradivarius for the Spanish Court. There is just a shadow of possibility that it may be the actual work of that most glorious craftsman of Cremona.

[Ill.u.s.tration: PLATE I.]

Its length over all is 27-1/2 in.; the playing length of the hair is 23-1/4 in.; the width of the hair barely 1/4 in. This bow has the most scientific _cambre_ as yet found. Its deviation is 9/16 in. in 26-5/8 in. It is also of more flexible material than the others.

The centre bow in Fig. 26 is stamped by Thomas Smith (at last we have a signed specimen), chiefly known for his 'cellos. It was most probably made, however, by Edward Dodd. The head, while possessing a certain elegance, is of a very early type. It is of yellow lance wood and has a very p.r.o.nounced _cambre_, the deviation being nearly 1/2 in. in 27-1/4 in. The total length is 28-3/4 in., and from the mortices in the head and nut one would suppose that it was intended to take somewhat broader hair than the preceding examples. The date of the bow is somewhere between 1760 and 1780. The other bows in Fig.

26 are viola da gamba bows; the upper one I use frequently myself in certain pieces for that instrument. It is very elegant and I should say is of French make. It is extremely flexible and most adapted to sustaining chords of three notes, as the great distance of the hair from the stick prevents any "grinding" on the middle string. But like all these early bows the hair is much too narrow. The other gamba bow in Fig. 26 is very quaint and appears to be of much earlier date. It is handsomely fluted through the upper two thirds: the lower third being a simple octagonal. A curious feature is that the distance of the hair from the stick gradually diminishes from 1 in. at the heel to 1/2 in. at the point. It has a slight _cambre_, but being of snake wood is quite poker-like in its rigidity.

[Ill.u.s.tration: FIG. 26.]

As is it impossible to determine the exact date of these bows, one can arrive at no very safe conclusion as to when the movable nut was first introduced. Fetis thinks this important modification came from the East also, and he mentions a cherry wood bow in his possession, made at Bagdad, which has a distinct head where the hair is inserted, and a nut fitting into a dovetail notch in the stick.

The first and second of the bows shown in Fig. 25 have a curious device. The hair is fixed into the stick at both ends, and the nut, which is quite detached, slips into a slot with a snap, and is held in place by the pressure of the hair. A glance at Fig. 27 will make this arrangement clear. These two nuts are the second and third in Fig. 28, which is reduced one-third below actual size. The ornamental tip to the middle one looks as though it had a screw, but this is merely a decoration to balance a finely fluted design on the stick just above where the "lapping" is usually placed.

[Ill.u.s.tration: FIG. 27.]

[Ill.u.s.tration: FIG. 28.]

A great advance on this was the _cremaillere_ (Fig. 29), which served to vary the tension of the hair in a more or less satisfactory manner. This device is still in use in Sweden.

[Ill.u.s.tration: FIG. 29.]