The two positions in which we find the _viol_ held is worthy of notice, inasmuch as it refers the inquirer further back than might be expected for the origin of our peculiar method of holding the violin, and the violoncello, in playing. There were several kinds of the _viol_ in use, differing in size and in compass of sound. The most common number of strings was five, and it was tuned in various ways. One kind had a string tuned to the note [Music: Bass clef, quarter note D] running at the side of the finger-board instead of over it; this string was, therefore, only capable of producing a single tone. The four other strings were tuned thus: [Music: Bass clef, quarter notes G (low) G (high) Treble clef, quarter notes D (low) D (low)] Two other species, on which all the strings were placed over the finger-board, were tuned: [Music: Bass clef, quarter notes D G (low) G (high) Treble clef, quarter notes D (low) G] and: [Music: Bass clef, quarter notes G (low) C G (high) Treble clef, quarter notes D (low) G] A very beautiful _vielle_ is represented in Fig. 36. It is of French workmanship of about 1550, with monograms of Henri II., and is preserved in the Museum. [Illustration: FIG. 36.――HURDY-GURDY (Vielle). With arms of France and crowned monogram of Henry II. on back and front. Near the handle are monograms of Catherine de Médicis. About 1550. L. 22½ in., W. 8¼ in. No. 220-’66. Victoria and Albert Museum.] [Illustration: FIG. 37.――TYMPANUM of the Glory Gate of the Cathedral of Santiago de Compostella. Dated 1188. From a plaster cast in the Victoria and Albert Museum.] The contrivance of placing a string or two at the side of the finger-board is evidently very old, and was also gradually adopted on other instruments of the violin class of a somewhat later period than that of the _vielle_; for instance, on the _lira di braccio_ of the Italians. It was likewise adopted on the lute, to obtain a fuller power in the bass; and hence arose the _theorbo_, the _archlute_, and other varieties of the old lute. A grand assemblage of musical performers is represented on the Portico della Gloria of the famous pilgrimage church of Santiago de Compostella, in Spain. This triple portal, which is stated by an inscription on the lintel to have been executed in the year 1188, consists of a large semi-circular arch with a smaller arch on either side. The central arch is filled by a tympanum, round which are twenty-four life-sized seated figures, in high relief, representing the twenty-four elders seen by St. John in the Apocalypse, each with an instrument of music. These instruments are carefully represented, and are of great interest as showing those in use in Spain about the twelfth century. A cast of this sculpture is in the Museum (Fig. 37).