The actual invention of the movable nut travelling on a propelling and withdrawing screw is attributed to the elder Tourte, but some of the bows in Mr. Hill's collection having this contrivance appear to be too remote for this to be the case. It is a point that I fear will always be shrouded in mystery.

In Plate II. we see a nearer approach to the outlines of the modern bow. These I should say are the work of W. Tubbs, who worked for most of the English fiddle makers and dealers. The first one bears the stamp of Norris and Barnes. This bow is 27-7/8 in. in length, the other two being exactly one inch longer. The hair in the first and third is 1/4 in. in width; in the centre one it is full 5/16 in. The handsome ivory nut of this bow is shown in Fig. 28. They are extremely elegant, and have much of the character of the modern bow in finish and _cambre_, though the deviation is again too low down.

[Ill.u.s.tration: PLATE II.]

CHAPTER V.

VUILLAUME'S FACTS--THE FERRULE AND SLIDE--JOHN DODD.

Another example of bow, remarkable not only for its ornamentation, but also as having a well defined _cambre_ together with a nut and screw, is Fig. 30.

[Ill.u.s.tration: FIG. 30.]

This is a Cremonese bow of the seventeenth century. It is fluted in alternate sections, or panels, the lower third having a slight extra complication of the design "thrown in." Truly these grand old craftsmen were not afraid of work. The screw-nut is as perfect as one could wish, saving, only, in the meagre allowance of hair provided for.

These early bows with screw-nuts quite dispel the generally accepted theory that this mechanical contrivance for regulating the tension and preserving the elasticity of the stick was the invention of the elder Tourte. The majority of writers on the history of the violin, and, incidentally, the bow, are content to take their data from that much quoted historian and scientist, Fetis. He appears to have made most of his more important statements on the authority of Vuillaume.

How Vuillaume became so versed in the history of his craft does not appear. His talent in the way of producing "genuine" Cremonese and other masterpieces is well known, the most stupendous example being the Duiffoprugcar instruments with which he imposed on the violin world so successfully. May we infer that he had equal facility in the fabrication of historical "facts"? _De mortuis nil nisi bonum_, but at all cost our history must be made accurate. Better no facts at all than spurious ones.

Having disposed of the screw attachment, the next important points in the development of the bow is the ferrule, which preserves the ribbon-like appearance of the hair, and the slide, which serves as an ornamental cover for the mortice in which the hair is fixed. These additions are commonly attributed to Francois Tourte, but in Fig. 31 I give a drawing of a typical nut by John Dodd, having both these improvements.

[Ill.u.s.tration: FIG. 31.]

Dodd and Tourte were contemporaries, Tourte's birth having taken place only five years before that of Dodd in 1752. When I come to speak more particularly of Tourte I shall show my reasons for thinking it unlikely that Dodd copied Tourte in this respect. The whole matter is shrouded in mystery. In other branches of science, art, etc., we find brilliant thinkers arriving simultaneously at identical results,[1] and I can quite believe that the idea of the ferrule and slide (obvious contrivances when one considers the requirements of a good bow) could have occurred to more than one of the workers then striving after perfection.

[Footnote 1: As a noteworthy example, take the simultaneous discovery by deduction of the invisible planet Neptune, by Adams and Leverrier.]

The characteristic feature I wish to call attention to in the heel shown above (Fig. 31) is the great size of the slide in proportion to the whole lower surface of the nut. It leaves such a very small margin compared with that of other makers. This will be found in nearly every genuine specimen. Unfortunately nuts wear out and become replaced with new ones, so that it is not always possible to obtain a bow that is original in all its parts. Dodd occasionally decorated the face of his bows with mother-of-pearl, as in the example shown in Fig. 31. He invariably stamped the name DODD in large, plain letters both on the side of the nut and on the stick. I have seen some that are stamped J. Dodd, but not many. Fig. 32 shows (actual size) a very early Dodd head, than which nothing, I think, could be more distressingly ugly. It is remarkable that such a caricature should have emanated from the same man who produced those shown in Plates III. and IV. Plate III. consists of photographs (actual size) of two violin bows, and one tenor bow, Plate IV. giving one tenor bow and one 'cello bow by this maker. It would be quite impossible to give representations of all Dodd's characteristics, as his work varies so very much. I have therefore chosen a few only of the best types.

These are all exceptionally well finished. In the second and third is to be seen the tendency to arch in the neck of the bow so frequent in Dodds; in the others the sweep of the stick up to the head is perfect. His 'cello bows are his best work, and compare favourably with the greatest Continental makers. The one I have selected is of the finest period. The first of the two tenor bows (third on Plate III.) is the type of head most frequently seen, some have the head drawn backward at a very ungainly angle, and others, again, slope forwards, to an extent greater even than that of the 'cello bow in Plate IV.

[Ill.u.s.tration: FIG. 32.]

[Ill.u.s.tration: PLATE III.]

[Ill.u.s.tration: PLATE IV.]

Owing to the extreme elegance of Dodd's bows, and the beautiful workmanship of his finest specimens, he has been dubbed the "English Tourte," and amongst the majority of English amateurs the name of Dodd is held in the highest possible estimation. But as a matter of fact very few Dodd bows are worthy of this regard. His best bows, such as he sold for a pound or thirty shillings, are fine, although few of the violin bows are such as an artist would make much use of.

The slenderness is frequently carried to excess, and the narrowness of the head prevents a sufficient "spread" being given to the hair in many cases, and a great number are much too short.

It must be remembered that Dodd worked before foreign importation annihilated the English violin and bow making industries, and he turned out a large number of bows at prices ranging from a few shillings a dozen upwards. Thus it will be readily understood that there are many genuine Dodds in existence that are not worth looking at. His tenor bows are often excellent, and, as I said above, his 'cello bows represent him the best.

CHAPTER VI.

DR. SELLe'S RECOLLECTIONS OF DODD--HIS WORK AND POVERTY--DODD AND TOURTE--THE CALCULATION OF FeTIS AND VUILLAUME.

It has been my great good fortune to be favoured with an interview with the veteran violinist, Doctor Selle, of Richmond. This gentleman, now well on in his eighties, knew John Dodd most intimately, and gave me many interesting details about him. I have endeavoured to obtain a portrait of Dodd, but there does not seem to be anything of the sort in existence. However, Dr. Selle gave me a graphic description of his personal appearance. In stature he was short and of a shuffling gait. As he affected nether garments of extreme brevity, very broad-brimmed hats, and was excessively negligent in the matter of clothing, etc., his habitual aspect was quaint and eccentric to a degree.

He was unfortunately very illiterate, and, according to Dr. Selle, it is doubtful whether he could sign his own name.

In his work--the artistic excellence of which is remarkable under these circ.u.mstances--he was very secretive, giving as his reason for taking no apprentice, his desire that no one else should ever know or perpetuate his methods.

It has been said, and, I believe, on good authority, that he was once offered the sum of 1,000 pounds for his "secret," a temptation that, despite his great poverty, he steadfastly resisted.

Doctor Selle tells me that he distinctly remembers seeing Dodd cut out a bow from the rough plank with a curiously constructed double saw.

This is very remarkable as none of the bow makers now working know of such a tool, or can conceive the possibility of using one. Whether this may have any connexion with the much talked of "secret," it is impossible to say. It is probably another of those points in the history of the bow that seem doomed to remain shrouded in mystery.

Doctor Selle remembers seeing Dodd walking home many times with his pockets full of oyster sh.e.l.ls begged from various stalls.

From these he used to cut out the pearl for the slides and ornamentation on his bows. This accounts for the characteristic plainness of these features of his work. He was often at a loss for silver for the mountings, and the Doctor says it was highly diverting to him when a boy to hear the old housekeeper soundly rating Dodd for melting down _another_ of her metal spoons.

One great drawback to Dodd's success was his partiality for the "flowing bowl." As the Doctor epigramatically expressed it in the notes he supplied to A. Vidal, "he was very regular in his irregularities." Vidal's translation at this point is worthy of note.

One is surprised to find that Dodd would pay four daily visits to "les voitures et chevaux publics"--"the public carriages and horses."

The mind fails to grasp the Gallic conception of the eccentric Englishman whose nationally characteristic love of horseflesh should cause him so frequently to inspect the omnibus of the period.

One shudders to think what Vidal would have done if Dodd's favourite house of call had been the Star and Garter instead of the _Coach and Horses_!

His last years were spent in great poverty; in fact, he subsisted almost entirely on the charity of a few violinists and amateurs who appreciated his genius. He ultimately died of bronchitis in the Infirmary of Richmond Workhouse, and was buried at Kew; not, as has been elsewhere stated, at Richmond.

I do not think a man of such a taciturn, secretive disposition, would have been likely readily to adopt the methods and copy the work of another maker. As has been shown by the reproductions of bows I have given so far, there has been apparent a converging tendency to the modern design of head all through. The Tourte head is undoubtedly the most beautiful, the most perfect in every way. His was the master hand that _did_ what others had been trying to do. Dodd, working, as I believe, quite independently, came very near it. A comparison of the Dodd bows shown in Plates III. and IV., with the Tourtes in Plates V. and VI., will make clear a very significant fact. Dodd's work--fine as it is--is distinctly _earlier_ in spirit than that of his great French rival. Yet they were contemporaries--in point of fact Dodd was a few years later than Tourte.

[Ill.u.s.tration: PLATE V.]

[Ill.u.s.tration: PLATE VI.]

Then, as regards the _cambre_, Dodd followed on in the primitive school and cut his bows at once to the required sweep: Tourte, in addition to perfecting the dimensions and design, inst.i.tuted an entirely new principle based on scientific deductions. His bows were all cut straight, and the "spring" was produced by judicious heating of the fibres.

Another thing one has to consider in this connexion is the relations that existed between England and France at this period. I think most people will admit that they were "strained," and that there were many obstacles in the way of free intercourse between the two countries.

The war with France commenced when Dodd was twenty-one years of age, and though Tourte was five years older he had spent his youth firstly in the pursuit of a vocation entirely removed from bow making, and secondly in experiments lasting some considerable time before he commenced producing the perfect work that has made his name one to be extolled and reverenced by all wielders of that magic wand, the "fiddle-stick." When one thinks of the roundabout way such a thing would have to travel from Paris to London at this period, it seems highly probable that Dodd may not have seen a specimen of Tourte's work until he was about sixty.

What a marvellous thing a fine Tourte is! What a revelation the first time a player handles one! When I have an opportunity of playing on a Strad with a Tourte I can never decide which causes me the most delight. There is an indefinable something about a Tourte that seems to increase the player's dexterity of manipulation to an extraordinary extent. No matter how used one may be to a certain bow: no matter how expert one may be in the execution of staccato and arpeggio pa.s.sages, the first time a Tourte is tried one realizes that hitherto there has been an effort necessary for the adequate production of such effects, whereas now the bow seems endowed with a consciousness quite _en rapport_ with that of the player, and difficulties vanish magically. It seems voluntarily to carry into effect the player's wishes without any physical interposition whatever.

It is like riding a thoroughbred in the "Row" after driving a donkey across Hampstead Heath. Not that I or any of my readers would think of indulging in any such distressingly vulgar exercise as the last named. It may serve, however, to conjure up in the mind a sufficiently forcible simile.

Apart from their many wonderful qualities as bows, they are quite exceptional as works of art. Study the four heads shown in Plates V.

and VI., and note the tender sweep of the outer line; full of force and delicacy combined. See, too, how it is supported by the harmonious inner line, a thought more rigid, and yet full of grace.

To become an expert in bows requires years of continual observation, for the slight differences in line are too subtle to be apparent to those who are not constantly looking for and studying them. But I think anyone, even "ye meanest capacitie in ye world"--to quote good old Roger North--will be able to appreciate the contrast between the bow heads in Plates III. and IV., and those in Plates V. and VI. It is in the two 'cello bow heads that the greatest resemblance is seen.

But even here one can easily note the unwonted ma.s.siveness, almost amounting to clumsiness, in that of Dodd; while the Tourte is full of lightness, strength and vigour. There is more or less of sluggishness observable in most of the preceding bows, but the Tourte is _awake_; it lives!

It is at times of great interest to note by what slender threads of chance great consequences may be suspended. Take the family of the Tourtes for instance. We find the father a worthy craftsman making bows as good, and possibly better, than those of his contemporaries.

He, obeying a natural law of custom, educated his eldest son in his own craft, and probably looked to him to perpetuate those excellencies in design and finish that had brought him fame.