e we have of the use of a description of
Viol at that time, from the carvings on the Portico della Gloria of
the Church of Santiago da Compostella, does not carry conviction that
a bow was used, since none is represented.[9]

[Footnote 6: Hawkins' "History of Music" was published in the year
1776. The MS. notes, which are attached to the author's copy in the
British Museum, were included in the edition published in 1853 by
Novello & Co.]

[Footnote 7: It may be remarked that nineteen years prior to the
publication of John Gunn's dissertation was published the valuable
work of Martinus Gerbertus, "De Cantu et Musica Sacra," dated 1774.
The volumes of Gerbertus were evidently perused with care and
attention by Gunn. The references of John Gunn to the work are the
earliest I have met with.]

[Footnote 8: Mention is made by Ash-Shakandi, who wrote on Moorish
music in Spain in the thirteenth century, of the Rebab. If this
instrument was not more developed than its modern namesake, we have
evidence of the Saxons being in possession of bowed instruments
infinitely superior at a much earlier date.]

[Footnote 9: In "The Violin and its Music," 1881, page 50, I have
assumed their use by the performers on the above mentioned arch,
believing it not improbable that the use of the bow was introduced by
the settlers in Spain from the North.]

That the Spanish were influenced by their Moorish conquerors with
regard to music, minstrelsy, and dancing is certain. The origin of
such movements as the Saraband, the Morisca (or Morris dance), and the
Chaconne,[10] has been traced to the East. That such dances should
have been accompanied by instruments of Eastern origin of the Lute
kind may be assumed. Both in Spain and southern France accompanying
instruments struck with plectra or twanged with the fingers were
adopted at a very early period, and the people of those parts attained
to a high state of proficiency--so much so indeed as to have rendered
the cultivation of this description of music a national characteristic
with them in the use of such instruments. The usage of the bow,
however, does not appear to have been cultivated sufficiently, if at
all, to leave its traces in history, until about the twelfth century,
when the Troubadours sought the aid of the Trouveres and Jongleurs.
The Trouveres were minstrel poets belonging to Northern France. The
Jongleurs entertained their patrons with jests and arch sayings, and
were often join