in spite of its rectangular frame (see Figs. 49-50). Important influence doubtless came from some Oriental forms, but precisely which of them and when is not certain. In the 16th century every effort to improve the lute reacted on the viol, and the early makers of the latter were generally luthiers. Yet the critical difference of the viol as to the method of sounding tended always to keep the number of the strings small and decidedly to modify its outer contour.
A few of the transitional steps may here be noted. The mediæval
'vielle' or 'fiddle' had a body more or less pear-shaped, following that
of the Troubadour rebec. In the 15th century more than one size began
to be made, so as to imitate the parts of the vocal choir. Naturally the
tenor size was held to be typical, and to this the name 'viola' was
especially attached. (Hence later the treble or discant viol was called
'violino' or 'little viola,' and the bass, 'violone' or 'big viola'; while
still later come the term 'violoncello' or 'small big viola.' Similarly
'viola da braccio' or 'arm-viola' and 'viola da gamba' or 'leg-viola'
were designations both of size and of position in playing.)
The larger the viol, the greater the need of providing means of free access to the strings for the bow and of augmenting the strength and rigidity of the body. The true violin type appeared only when the outline of the body was broken by a 'waist' with corners reinforced within by blocks. Probably before this, that is, early in the 16th century, decided gains had been made in details—in shaping the bridge, in fixing it upon a soundpost, and in settling the place and form of the longitudinal bass-bar. But the models were still relatively thick from front to back, had flat backs, sloping shoulders and very variable contours, and the shape and placing of the soundholes were capricious. In the typical viol the fingerboard was provided with frets, as in the lute, but in the violin these were ultimately discarded.
Besides the three or four standard sizes of the viol proper, experiments were tried with more complicated forms, such as the 'lyra' in several sizes, which was double-strung and required a broad, high-arched bridge, and the 'viola d'amore,' also in more than one size, which had from seven to many sympathetic strings of metal under or beside the fingerboard. Some of these transitional forms remained in use till about 1800, but they were steadily being replaced by the true violin.
The perfected violin-model presents many points of technical
interest, which cannot be briefly described. Every detail has
been exhaustively studied, and the results of small variations in
form and adjustment are fully understood. The genius of the
great makers lay in gradually conquering every problem involved,
and then in perfecting one of the several possible combinations
of the factors. While adhering to the certain broad lines of
