But before we allow ourselves to lapse into such delights, we have here two interesting photographs of an Andrea Amati masterpiece; a violoncello which numbered among the famous set of thirty-eight bow instruments sent to Charles IX., King of France, by Pope Pius V. We shall linger over these pictures with more than ordinary interest, for the reason that they introduce us to the first wavering incursions of the violoncello against the viola da gamba. This Amati violoncello was but the advance guard of the main body which followed at a later date. Very slowly, but yet surely, the violoncello ousted the gamba, but its victory was not a matter of delight to everyone. Many were the comments upon the matter, and M. Hubert le Blanc even wrote a clever little book upon the subject entitled, “Defense de la Basse de Viole contre les Enterprises du Violon et les Pretensions du Violoncel.” This was brought out in Amsterdam in 1740, and it is said that the author was so delighted to find a publisher, after having tried every firm in Paris, that his enthusiasm led him to rush off to Amsterdam and settle there, when he found a publisher in that town. Will you come here to the central hall? We can sit down close to this beautiful majolica and endeavour to place Duiffoproucart and Amati in the world of music which surrounded them. Come! [Illustration] HOW TO HOLD OR PLACE THE VIOL Being conveniently seated, place your Viol decently betwixt your knees; so that the lower end of it may rest upon the calves of your legs. Set the soles of your feet flat on the floor, your toes turned a little outward. Let the top of your Viol be erected towards your left shoulder; so as it may rest in that posture, though you touch it not with your hand. HOW TO HOLD AND MOVE THE BOW Hold the Bow betwixt the ends of your thumb and two foremost fingers near to the Nut, the thumb and first finger fastened on the stalk; and the second finger’s end turned in shorter against the Hairs thereof; by which you may poise and keep up the point of the Bow. If the second finger have not strength enough, you may join the third finger in assistance to it; but in playing Swift Divisions, two fingers and the thumb is best. From Christopher Simpson’s “The Division-Viol” (First Edition, 1665). CHAT THE THIRD The Renaissance--The Influence of the Netherlands School--A brief Outline of the growing Use of the Viol in Germany, Italy, England, France