The Bow, Its History, Manufacture and Use By Henry Saint-George It has always appeared to me a curious thing that the bow, without which the fiddle could have being, should have received so scant attention, t alone from the community of fiddlers, but also from writers on the subject. I only kw of one book in which the subject is adequately handled. Out of every twenty violinists who profess to some kwledge of the various types of Cremonese and other fiddles of repute and value, barely three will be met with who take a similar interest in the bow beyond kwing a good one, or rather one that suits their particular physique, when playing with it. They are all familiar with the names of Dodd and Tourte, but it is seldom that their kwledge extends beyond the names. As for a perception of the characteristics of bows as works of art, which is the standard of the fiddle conisseur, it hardly has any existence outside the small circle of bow makers. Of the large number of undoubted fiddle experts w in London, but a small proportion profess to any similar kwledge of bows, and of these there are but few who can be credited with real authority in the matter.