Another call for playing the bass-viol in the position depicted by Hans Judenkünig came from that all-powerful patroness of music--the Church. To facilitate the use of viols in the religious processions, the bass-viol was attached round the neck of the performer. A small hole was made in the upper part of the back of the instrument so employed and a peg inserted. A cord or chain was attached to this peg, and passed round the player’s neck; an arrangement which allowed him to play with some degree of ease. Bass-viols so employed gained the title of “viola da Spala,” or shoulder viols, in Italy, from the position in which they were held. The early violoncellos, which were of a small size--not the size destined to live--were submitted to a similar chaining and carrying; of course, thumb movement and the numerous treasures of the high positions were unknown, and the player confined his efforts to the first position. Two years after Hans Judenkünig’s publication, Martin Agricola, whose real name was Sore or Shor, published his “Musica Instrumental Deudsch,” a remarkable work, both from the point of view of literature and musicianship. He launched into woodcut representations of all the viols of the day, and they are probably there found for the first time in complete Quartets, with the names under each instrument as follows:--“Discantus” (treble), “Altus,” “Tenor,” “Bassus.” The tuning of all these viols at this period was always regulated by that prescribed for the lute. Gerle and Judenkünig states this to be composed of fourths, with a third intervening, while Agricola instructs the executant to “Draw up your fifth string as high as you may That it may not be broken when on it you play.” This confusing method was even practised in the following century, for the worthy John Playford, in his “Introduction to the Skill of Music” (Twelfth Edition, 1694), tells the would-be player of the bass-viol that: “When you begin to Tune, raise your _Treble_ or smallest String as high as conveniently it will bear without breaking; then stop only your _Second_ or _Small Mean_ in F and tune it till it agree in _Unison_ with your _Treble_ open,” and so on with each string. Imagine a modern orchestra tuned according to this recommendation! * * * * *