With the advent of bowed instruments the foundation was laid for the modern orchestra, of which they are the natural basis. The question of the antiquity of the bowed instrument has often been discussed, with the result that the latter has been definitely classed as essentially modern, for the reason that it did not become known in Europe until about the tenth to the twelfth centuries. As a matter of fact, the instrument is doubtless of Person or Hindu origin, and was brought to the West by the Arabs, who were in Spain from the eighth to the fifteenth centuries; in fact, most of our stringed instruments, both the bowed and those of the lyre type, we owe to the Arabs--the very name of the lute, _el oud_ ("shell" in Arabic) became _liuto_ in Italian, in German _laute_, and in English lute. There were many varieties of these bowed instruments, and it is thought that the principle arose from rubbing one instrument with another. The only other known examples of bowed instruments of primitive type are (1) the _ravanastron_, an instrument of the monochord type, native to India, made to vibrate by a kind of bow with a string stretched from end to end; (2) the Welsh _chrotta_ (609 A.D.), a primitive lyre-shaped instrument, with which, however, the use of the bow seems to have been a much later invention. Mention should also be made of the marine trumpet, much in vogue from the fourteenth to the sixteenth centuries; it consisted of a long, narrow, resonant box, composed of three boards, over which was stretched a single string; other unchangeable strings, struck with the bow, served as drones. Only the harmonics were played on the marine trumpet. The principle of procuring the vibrations in stringed instruments by means of a bow was, of course, applied to the monochord class of keyed instruments, and was thus the origin of the hurdy-gurdy, which consisted of a wheel covered with resined leather and turned by a crank. The bowed instruments were originally of two types, the first in the form of the lute or mandolin; the second probably derived from the Welsh _crwth_, consisting of a flat, long box strung with strings (called fidel from _fides_, "string"). The combination of these types, which were subjected to the most fantastic changes of shape, led eventually to the modern violin family. We know that the highest plane of perfection in the violin was reached in Italy about 1600. The Cremona makers, Amati, Guarnerius, and Stradivarius, made their most celebrated instruments between 1600 and 1750. The violin bow, in its earliest form, was nothing more than an ordinary bow with a stretched string; Corelli and Tartini used a bow of the kind. The present shape of the bow is due to Tourte, a Paris maker, who experimented in conjunction with Viotti, the celebrated violinist.