is "Division Viol"--first
published in 1659--says:--

"Hold the Bow betwixt the ends of your Thumb and two foremost
fingers, near to the Nut. The Thumb and first finger fastened on the
Stalk; and the second finger's end turned _in_ shorter, against the
Hairs thereof; by which you may poize and keep up the point of the
Bow. If the second finger have not strength enough, you may joyn the
third finger in assistance to it; but in Playing Swift Division, two
fingers and the Thumb is best.... When you see an even Number of
Quavers or Semiquavers, as 2, 4, 6, 8, you must begin with your Bow
forward; yea, though the Bow were imployed forward in the next Note
before them. But if the number be odd, as 3, 5, 7 (which always
happens by reason of some Prick-Note or odd Rest) the first of that
odd number must be played with the Bow backward. This is the most
proper motion of the Bow, though not absolutely without some
exception; for sometimes the quickness of the Notes may force the
contrary. Also quick Notes skipping from the Treble to the Bass, and
so persued, are best express'd with contrary Bows."

All of which is very clear and logical. The way he balances up the
relative claims of a stiff or loose elbow is, however, distinctly
amusing, as witness the following:

"----you must stretch out your Arm streight, in which posture
(playing long Notes) you will necessarily move your shoulder Joint;
but if you stir that Joint in Quick Notes, it will cause the whole
body to shake; which (by all means) must be avoyded; as also any
other indecent Gesture. Quick Notes, therefore, must be expressed by
moving some Joint near the Hand;[1] which is generally agreed upon to
be the Wrist. The question then arising is about the menage of the
Elbow Joint; concerning which there are two different opinions. Some
will have it kept stiff; insomuch, that I have heard a judicious
violist positively affirm, that if a Scholar can but attain to the
playing of Quavers with his Wrist, keeping his Arm streight and stiff
in the Elbow-Joint, he hath got the mastery of the Bow-Hand. Others
contend that the motion of the Wrist must be strengthened and
assisted by a compliance or yielding of the Elbow-Joint unto it; and
they, to back their Argument, produce for instance a person famous
for the excellency of his Bow-Hand using a free and loose Arm. To
deliver my own opinion: I do much approve the streightness of the
Arm, especially in Beginners, because it is a m