Lutherie, comme c'était et c'est : d'être un historique, théorique et pratique traité sur la science et l'art de lutherie, pour l'utilisation des luthiers et des joueurs amateurs et professionnels, . à la ssed au nord-ouest par thecolonization Islesand britannique de la Bretagne de l'Espagne, et,sans planeur dans l'origine indo-européenne de l'Celtictribes, nous pouvons dire que thesegreat wereprogressing de population progressivement dans le nord-ern Europe de l'est andsouth-est, apportant avec themtheir violons supérieure (keman-gehs, rebabs, etc.) pour qu'il remplace le plus inférieur en bow-instruments al

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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 . ssed to the north-west by thecolonization of the British Islesand Brittany from Spain, and, without soaring into the Indo-European origin of the Celtictribes, we may say that thesegreat waves of population wereprogressing gradually into North-ern Europe from the east andsouth-east, bringing with themtheir superior fiddles (keman-gehs, rebabs, etc.) to supersede the more inferior bow in-struments already there (to which I shall presently refer)^There is no doubt that from Spain colonists were continually)overrunning Europe, and this accounts for the presence innearly all European languages of Moorish names for musicalinstruments, it being not at all improbable that names of crudeand imperfect instruments have in all languages become trans-ferred to newer and more perfect instruments as the formerwent out of, and the latter came into, use. From Spain•jolonists settled in Brittany, England, Normandy, and other 1 C. Engel, The Music of the Most Ancient Nations, etc. (London, 1864), p. 49.. Wis. 13.—Viol from MS. of St. Bias ius.Ninth century. (Gerbert.) THE ANCESTRY OF THE VIOLIN. 45 parts of Europe, long before the Indo-European tribes hadreached so far, and accordingly it is in these countries that wefind records of the first pear-shaped viols, properly so called, bearing strong resemblance to a small variety of ancient andinodern Moorish kemangeh. We do not find any actual andauthentic representations of pear-shaped viols before the ninthnentury, which supplies us with a one-stringed viol (Fig. 13), froma MS. from the Monastery of St. Blasius in the Black Forest, which MS. was destroyed when the Monastery was burntdown, but of the illustrations of which the Abbot Gerbert hadtracings, which he subsequently reproduced.1 Representationsof viols of supposed earlier dates hav

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