Among the oldest representations of performers on instruments of the violin kind found in England those deserve to be noticed which are painted on the interior of the roof of Peterborough cathedral. They are said to date from the twelfth century. One of these figures is particularly interesting on account of the surprising resemblance which his instrument bears to our present violin. Not only the incurvations on the sides of the body but also the two sound-holes are nearly identical in shape with those made at the present day. Respecting the reliance to be placed on such evidence, it is necessary to state that the roof, originally constructed between the years 1177 and 1194, was thoroughly repaired in the year 1835. Although we find it asserted that “the greatest care was taken to retain every part, or to restore it to its original state, so that the figures, even where retouched, are in effect the same as when first painted,” it nevertheless remains a debatable question whether the restorers have not admitted some slight alterations, and have thereby somewhat modernised the appearance of the instruments. A slight touch with the brush at the sound-holes, the screws, or the curvatures, would suffice to produce modifications which might to the artist appear as being only a renovation of the original representation, but which to the musical investigator greatly impair the value of the evidence. Sculptures are, therefore, more to be relied upon in evidence than frescoes. [Illustration] [Illustration] CHAPTER VIII. The construction of the _organistrum_ requires but little explanation. A glance at the finger-board reveals at once that the different tones were obtained by raising the keys placed on the neck under the strings, and that the keys were raised by means of the handles at the side of the neck. Of the two bridges shown on the body, the one situated nearest the middle was formed by a wheel in the inside, which projected through the sound-board. The wheel which slightly touched the strings vibrated them by friction when turned by the handle at the end. The order of intervals was _c_, _d_, _e_, _f_, _g_, _a_, _b-flat_, _b-natural_, _c_, and were obtainable on the highest string. There is reason to suppose that the other two strings were generally tuned a fifth and an octave below the highest. The _organistrum_ may be regarded as the predecessor of the hurdy-gurdy, and was a rather cumbrous contrivance. Two persons seem to have been required to sound it, one to turn the handle and the other to manage the keys. Thus it is generally represented in mediæval concerts. [Illustration] [Illustration]