As to the violoncello bow, which had the following form in the first half of the eighteenth century,[51] its progress went hand in hand with that of the violin bow. The improvements which were successively made on the latter were effected on the former. The greatest perfection reached by the bow was the work of a Frenchman, François Tourte. To this day he has never been excelled in this department. (See Appendix A.) [Illustration] The fabrication, however, of good violin and cello bows has latterly become very general; and especially in Markneukirchen the manufacture of bows as well as instruments has received a great impulse.[52] FOOTNOTES: [1] In the fifteenth and sixteenth centuries the name “Geige” violin, then in ordinary use, must not be confounded with the violin of our time. This term was not applied to the more modern instrument until later. [2] A more detailed account of the above stringed instruments and their precursors is contained in my work, “The Violin and its Masters,” Second Edition (Leipsic: Breitkopf and Härtel), and “History of Instrumental Music in the Sixteenth Century” (Berlin: Brachvogel and Ranft), therefore a repetition of what is there said is unnecessary. [3] The “big fiddle” of the sixteenth century must not be confounded with the stringed instrument of that time, of which the pitch answered to our modern Contra-basso, and in Italy was already called “Violone,” as appears from Laufranco’s “Scintille,” 1533. [4] The word “beschriben” refers to the letters which, for the convenience of the player, it was the custom to mark for the fingers on the fingerboard. [5] The artist who drew the sketches of the instrument for Gerle’s “Musica Teutsch” has left out the bridge in the “great viola.” See page 2. [6] See the article “Kerl.” [7] Also at the present time it is a family name. We need only mention G. H. Bruno Kerl, Professor of the Royal Berg Academy at Berlin. [8] Other authorities, however, say he was a Breton--Fétis, Casimir Colomb &c.--(_Tr._) [9] The name Duiffopruggar doubtless came from the same source as the surname Tieffenbrucker, still existing in South Germany. [10] Mr. Heron Allen in his “Violin Making, &c.,” page 74, says that two were recovered.--(_Tr._) [11] The same Prince to whom Corelli dedicated his “Concerti Grossi,” published in 1712. [12] Herr Obernetter, of Munich, has taken two beautiful photographs of this richly decorated instrument, which reproduce with great accuracy all its peculiarities. As far as I know they can still be purchased.