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

THE VI OL IN THE NE THERLANDS. 3 3
boast of an orchestra-composed of a Harp, a Flute,
a Vz"ol, and a Trumpet.'" Mention of these instruments
at this early date is interesting, without staying
to enquire whether their tones were ever heard in
combination. That this refers to a branch of an
Association of Rhetoric seems clear, and it is in
these branches we are interested as bearing upon
the progress of Music at this period, since to their
influence is traceable the extended cultivation of the
Art among the Netherlanders during the next century.
From these Chambers emanated the multifarious
arrangements for the conduct of the city
processions and entertainments in the management
of which the Netherlanders were unequalled, causing
them to become the instructors of other nations in
these matters. In their plays and pageants, instrumental
music was introduced. At first it was doubtless
of a rude description. Those instruments fitted
, to make the most noise were selected, such as the
Bagpipes, and other wind mediums of sound ; but in
course of time, as their pageantry became artistic,
these were supplemented or replaced by others,
among which were bowed instruments of the kind
common in Germany, which was a large Bass instrument
suited for sustaining the fundamental harmonies.
This Bass Viol I cannot but regard as the parent
of those ushered into existence with the Motett
and Madrigal.
I t is unnecessary in these pages to trace the
* Lavoix Fils, " Histoire de !'Instrumentation," Paris, 1878.
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