The method of performance readily suggests itself in this case as it will be seen that it would be quite possible and convenient for the player to pass his rod--probably a rough surfaced reed--_between_ the strings. I do not think it could have been used for percussion as, in that case, it would surely have had some hammer like projection at its end; a salient feature hardly to be missed by the artist as were the less obtrusive details of the true bow in later ages. We are all familiar with the oft repeated anecdote of Paganini's playing with a light reed-stem, and I remember having seen at Christmas festivities in country homesteads, the village fiddler playing a brisk old-time tune with the long stem of his clay pipe; also, quite recently, I read an account of an "artiste" in the States who charmed his enlightened audiences with his performances on the violin by using a variety of heterogeneous objects in lieu of the conventional bow, including a stick of sealing-wax and a candle! Now I do not wish to prove that the implement held by the benign Assyrian in Fig. 2, is either of the last named articles, but merely to draw attention to the fact that friction-tone is producible without the aid of a "bow" proper. The use of plain reed stems or other suitable rods for the production of continuous sounds would naturally soon give place to more elaborately constructed implements; although Ruhlmann gives a drawing of a portion of the sculptured decorations that adorn the famous "Golden Porch" at Freiburg which represents a crwth and bow of the twelfth century, the bow being merely a straight rod ornamented at either end with a simple knob (Fig. 3). [Illustration: FIG. 3.] He also gives a drawing of a violist of the fourteenth century, sculptured on the cathedral at Cologne, where the bow is even simpler in form. It is, however, impossible to judge how far the sculptor's imagination, or lack of observation, may have been responsible for these representations, so that they can hardly be taken as reliable evidence of the use of such primitive contrivances at so late a period. CHAPTER II. ORIENTAL ORIGIN OF THE BOW--INDIAN, CHINESE AND OTHER EASTERN BOWED INSTRUMENTS. In attempting to trace the use of the bow to its source we are obliged to content ourselves with the generalized statement that it is undoubtedly of oriental origin. Thus, that it _had_ an origin is proved beyond "all possible, probable shadow of doubt." But whether the first form of bowed instrument became extinct prehistorically, or whether it still survives, as some suppose, in the Ravanastron of India, is not easily determined. My own personal belief in the extreme antiquity of the bow is such as almost to justify the quaint statement of Jean Jacques Rousseau that Adam played the viol in Paradise. Of existing bowed instruments the Ravanastron (Fig. 4) most certainly seems to be the oldest, as its structure is more primitive than any other. [Illustration: FIG. 4.]