Chapter I: Origin and Early History of the Violin

The Fiddle Family—the Epigonion—the Semicon—the Plectrum—the
Magadis and Sambuce—Orpheus and the lyre—the Plectrum an implement
of percussion, not a bow—the Egyptian Chelys—Orpheus at
Versailles—the fidicula of the Latin Dictionary—Welch claims—Crowd
and Crowder—Instrument of the Saxon Glee-men—Strutt’s sports and
pastimes—Italy—Successive stages of the invention—the
Sounding-board—the neck—the bow—the Rebec—the viol—conversion of
the viol into the violin—the tenor viol, &c.—chest of
viols—Cremona fiddles—Hieronymus Amati—Galilei’s dialogues—claim
of the Neapolitans—violins and organs in Verona in 1580—Corelli’s
Violin, and Annibale Caracci—Piccoli Violini alla
Francese—Monteverdi’s _Orfeo_—Mersennus—the Barbiton—the Kit—the
Musurgia of Luscinius—the Rebec and Viol-di-Gamba—Violars
accompanying the troubadours—Saxon word Fidle, German Videl,
Icelandic Fidla, &c.—Fythelers of the old English romances—passage
from the Life of St. Christopher—Chaucer and the Canterbury
Tales—Absolon, the parish clerk—the ribible—the violin in low
esteem before the Restoration—minstrels included among rogues,
vagabonds, and sturdy beggars—Percy’s reliques—King of the
minstrels—Butler’s Hudibras—Crowdero—France—sculptures on the
portal of Notre Dame, in Paris—the Decameron—Michele Todini—the
first to introduce the Double Bass—Arms of the Town of
Alzei—Inhabitants called Fiddlers—Cushion Dance described—Hone’s
table book—Miss Hutton’s Oakwood Hall—Punch and the fiddler—‘a
regularly educated Zany’—Purcell’s catches—Epigram upon Young,
father and son—Anthony à Wood’s Autobiography—the Restoration
favourable to music—the Violin introduced at Court—Matthew Lock,
master to the Court band—Cambert, Lulli’s predecessor—the music of
the drama: act tunes—arrival of Nicolo Matteis—first
music-engraving in England—‘Musick’s Monument,’ and Thomas
Mace.—_pp. 1, et seq._