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 assume, 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,
manuscripts, 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 passages 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 workmanship, 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 mass 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, illustrating 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, Bassani, 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 illustrating these pages are several bows of a
much earlier date, yet having the _cambre_ most pronounced 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 anticipating 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
space 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.
[Illustration: 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.
[Illustration: 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 pronounced _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.
[Illustration: 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.
[Illustration: FIG. 27.]
[Illustration: 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.
[Illustration: FIG. 29.]
The actual invention of the movable nut travelling on a propelling
and withdrawing screw is attributed to the elder Tourte, but some of
the bows in Mr. Hill's collection having this contrivance appear to
be too remote for this to be the case. It is a point that I fear will
always be shrouded in mystery.
In Plate II. we see a nearer approach to the outlines of the modern
bow. These I should say are the work of W. Tubbs, who worked for most
of the English fiddle makers and dealers. The first one bears the
stamp of Norris and Barnes. This bow is 27-7/8 in. in length, the
other two being exactly one inch longer. The hair in the first and
third is 1/4 in. in width; in the centre one it is full 5/16 in. The
handsome ivory nut of this bow is shown in Fig. 28. They are
extremely elegant, and have much of the character of the modern bow
in finish and _cambre_, though the deviation is again too low down.
[Illustration: PLATE II.]