The Birmingham age-herald., 1912-01-14
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tween the hair and the stick. The 17th century bow was provided with rachet points over which the hair could be hooked, and during the next century Corelli introduced the use of screw.
 Tartini, 17i0, made the bow longer and more elastic than previously, but Fran cos Tourte a Frenchman Q747), brought the bow to it's present state of perfection whit ehorsehairs stretched over stick of Brazilian lancewood, or snalewood, curved inwardly. It was Tourte who de- cided the length of the bow, and contrived the method of pinching the horsehairs by a piece of wood in order to present a flat surface to the strings, in this way greatly increasing the volume of sound and power of expression.
 The violin bow should be a little over 20 inches in length and the hairs should be 26 inches long. Formerly from 80 to 100 hairs were considered necessary in con structing a perfect bow but now the num- Der varies from 175 to 250
 The theory of the conversion of the hunting bow into musical instrument has been discussed. The naturally weak tone of this single stringed instrument has been increased by various methods. One savage is found twanging the string with his fingers or with an arrow, and holding the end of the bow in his teeth; another has attached to one end of the bow a gourd, or shell, acting as resonator
 Figure No. 1 gives the outline of the earliest forms of Tyre found in Greece on a tomb dating from the third century, now used as font, in the Cathedral Of Girgenti. It was probably piece of board with number of strings knotted and passed through small holes across a rude bridge to q large hole in the other end, It was held on the lap of the per former in an upright position, resting against the left shoulder.
 Figure ? represents the Tyre of Apollo as it is called, dating from 40 to 80 B. c. It has four, seven or ten strings of gut stretched between the bridge and yoke, sometimes a tail piece is added It IS made of metal and is hollow throughout.
 The fiddle has developed from the Tyre, with it's plurality of strings and the mon ochord just as our music has developed out of the diatonic scale which the Greeks deduced from the use of these instru- ments.
 The third and fourth illustrations give two forms of a monochord instrument called the Tromba Marina or Marine Trumpet named from its long, narrow shape. It is six feet tall, is hollow and rests upon the floor, being ten inches wide at the bottom and five inches at the han dle. It's use dates from very early times in Central Europe.
 Each of the accompanying drawings are correct as to form and position of the In struments when in use by the performer, but could not conveniently De oia"h 'o scale.
 The fiat sounding board in front is made of thin pine The poygonal back slaves are. of maple. Figure No. represents if standing on a metal base to increase the sound very thick violoncello string IS used. stretched over a shoe shaped bridge, as shown in the Illustration, which rests entirely on the heel When the string Is put in vibration the rest of the foot peihs free rattles rapidly on the sounding poaru. it Is played with a heavy viooncello DOW well rosned, and is properly played only in natural harmonics. Paganinis extra ordinary effects in harmonics on single string were in fact produced by tempord- rilv converting, his violin into small ma rine trumpet He placed ms iou,'h string on the treble side of the bridge screwing it up to very high pitch anu leaving the base foot of the bridge coili- paratively loose. He thus produeeu powerful reedy tone and obtained unlim- ited command over the harmonlcs'
 While bowed instruments have long heen in use among Oriental peoples their resonant box consisted of a small drum perforated by a stick which served as finger hoard for usually one string, put authorities seem to agree that the violin owes them no debt of gratitude Tor US except. possibly, for the bow. It is not hard to imagine the poWeu rayenastron passing through Persia to Arabia, and thence toHnorthern Africa thence to Spain, where it was used with the rebec, one form sof which is gwen in the fifth illustration. It is spoken or by a Spanish poet of that day as the ''soualling rebec." It's tone, harsh and piercing like the shrillest notes of the female voice. Forms of the rehec have ex- jsted since before the Christian era. The one here represented as pear shaped and made of a solid piece of wood slightly honowd on top, over which is fastened thin piece of pine, with holes init for a sounding board. It Is variously named
 in different parts of Europe as 1t is slightly changed. Thus with a round body in Germany, it is called a ''geige' or "gige." One of this style dating from