,
was the source whence the Arabians might derive their knowledge. There
is a remarkable correspondence between the dichord of the Egyptians
and an instrument of the like number of strings of the Arabians. This
instrument was played with a bow, and was probably introduced into
Europe by the Arabians of Spain, and well known from the Middle Ages
down to the last century by the name of the Rebec; it had probably, on
its first introduction, only two strings, as it still has among the
Moors, and soon after had the number increased to three. Dr. Shaw, who
had seen it, calls it a Violin with three strings, which is played on
with a bow, and called by the Moors Rebebb." In passing it may be said
that the translators of the Bible, historians, painters, and poets
have in many instances contributed greatly to the confusion attending
the history of bowed instruments from their inability to correctly
name and depict corded instruments. About a century after the
publication of Dr. Shaw's "Travels in the East," appeared Lane's
"Modern Egypt," wherein reference is made to an instrument named
Rebab. It is described as being made partly of parchment, and mounted
with one or two strings, played on with a bow. These instruments
appear to be identical. We do not usually look to the East for
progressiveness, and would therefore not expect to discover much
difference between a Rebab of the nineteenth century and one of the
eighth century. In taking this view we may therefore assume that the
existing Rebab has nearly all in common with its Eastern namesake of
the eighth century. The rude and gross character of the instrument is
remarkable, and renders any connection between it and the Rebec of
Europe in the Middle Ages somewhat difficult to realise. Having no
certain knowledge of the form of the ancient Rebab, our views
regarding its connection with the Rebec must necessarily be
speculative, and mainly dependent upon the etymological thread which
is drawn between the words Rebec and Rebab. It is worthy of notice in
relation to the opinion held by Sir John Hawkins and many other
musical historians as to a bowed instrument of the Fiddle kind having
been introduced into Spain from the East in the eighth century, that
we possess no certain evidence of bowed instrument cultivation in
Spain between the eighth and twelfth centuries, whilst we have proof
of the use of bowed instruments both in Germany and in England within
that period.[8] The evidenc