THE V I O LIN AND ITS MUSIC, GEORGE HART, "HE VIOLIN: ITS ...

THE VI OL GOTHIC. 2I
instrument in a perfect state, having the same name
and put to the same use, namely, the rendering of
dance music, as a rude stringed instrument, centuries
earlier, would seem to have had its origin in its rude
namesake.
Whether the modern Geige or Violin, having
four strings tuned in fifths, originated with the
Germans or the I talians, is a question not easily answered.
The I talians have the advantage of existing
evidence in Violins by the Brescian and Cremonese
makers, whereas no such evidence existing or recorded
can be used for the Germans. In written
music for the instrument the ' Italians possess a
similar advantage. Though these facts cannot be
disputed, l' am disinclined to admit that Italy is
entitled to claim the whole merit of perfecting the
instrument.
I t must not be forgotten that the earliest steps in
all the arts are for the most part pre-historic. We
know much of Corelli, a little of his immediate predecessors,
and nothing of those beyond. I t is precisely
the same with the makers of Violins. The
names and works of Gaspard di Salo and Andreas
Amati are familiar to us, but we are left in comparative
ignorance of the founders of I tali an Viol making.
We have nothing but indirect evidence to guide us
to a knowledge of this manufacture ; such testimony,
however, . in its bearings upon the question, is not
wanting in interest, and is worthy of our attention.
Starting with the direct evidence of the Italians,