To understand what the double-bass is we have to go back to the Viol Family again. We saw that the viol was made in four sizes to make the quartet:—tenor or discant; _viola da braccio_; _viol da gamba_; and _violone_. We also saw that the violin gradually developed from the tenor viol; that the _viola da braccio_ became the viola; and that the _viola da gamba_ became the violoncello. Each passed through many changes until the modern instrument was perfected. Strange to say, the double-bass made on the violin pattern did not find favor; and the makers, therefore, went back to the viol type. So the double-bass is practically the old _violone_ with a very few slight changes. It still retains some of the characteristics of the old Viol Family; for instance, its flat back (instead of the new arched back of the new Violin Family) and its slanting shoulders; but it has yielded to the new style in its _f_-holes and its four corner blocks. We may call the double-bass a combination of the models of the violin and the _viola da gamba_ and not be far wrong. Compare the double-bass facing this page and the _viola da gamba_ facing page 60, and you will see the same slanting shoulders and general form. The double-bass also follows the habit of the Viol Family in being tuned in _fourths_ instead of fifths. If we look at the row of double-basses in the Orchestra, we will notice that some of the men are playing on instruments with three strings and others on instruments with four strings; but the work they have to do is practically the same. It is fascinating to watch the players whose hands move so rapidly up and down the long neck of the instrument and whose fingers fall so intelligently and firmly upon the right places, while the short, thick, black-haired bow looks sometimes as if it would saw the double-bass in two. We seldom hear a solo from the double-bass; for composers do not encourage him. His voice in spite of his huge size lacks substance. [Illustration: FIRST DOUBLE-BASS, SYMPHONY SOCIETY OF NEW YORK _Morris Tivin_] We cannot imagine the double-bass whispering a tender love-song, or indulging in any sweet sentiment. It is essentially an orchestral instrument. Its heavy notes are for the good of the community. They help make a fine, firm background for the melodies and harmonies of the more delicate instruments. The best effects of the double-bass are obtained on his open strings; and it can (and often does) produce harmonics. No composer ever thought of taking any special notice of it until Gluck saw its possibilities and made it imitate the hoarse barking of Cerberus in his opera of _Orfeo_. On the words “At the dire howling of Cerberus,” the double-basses are doubled with the violas and violoncellos and make a wonderful effect in depicting the three-headed dog of the lower regions.