See also:

• FIDDLE (O. Eng. fithele, fidel, &c., Fr. vide, viole, violon; M. H. Ger. videle, mod. Ger. Fiedel)

FIDDLE (O. Eng. fithele, fidel, &c., Fr. vide, viole, violon; M. H. Ger. videle, mod. Ger. Fiedel)  , a popular See also:

• TERM

term for the See also:

• VIOLIN

violin, derived from the names of certain of its ancestors . The word See also:

• FIDDLE (O. Eng. fithele, fidel, &c., Fr. vide, viole, violon; M. H. Ger. videle, mod. Ger. Fiedel)

fiddle antedates the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of the violin by several centuries,, and in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England did not always represent an See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument of the same type . The word has first been traced in 1205 in See also:

• LAYAMON

Layamon's See also:

• BRUT, BRUTE

Brut (7002), " of harpe, of salteriun, of fithele and of coriun." In See also:

• CHAUCER, GEOFFREY (? 1340-1400)

Chaucer's See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time the fiddle was evidently a well-known instrument: " For him was See also:

• LEVER (through O. Fr. leveour, levere, mod. levier, from Lat. levare, to lift, raise)
• LEVER, CHARLES JAMES (1806-1872)

lever have at his beddes hed A twenty bokes, clothed in See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black or red, Of See also:

• ARISTOTLE
• ARISTOTLE (384-322 B.C.)

Aristotle and his Philosophie, Than See also:

• ROBES (Fr. robe, Late Lat. roba, raupa, meaning (1)

robes riche or fidel or sautrie." (See also:

• PROLOGUE (from Gr. 7rpo, before, and Myer, a word)

Prologue, v . 298.) The origin of the fiddle is of the greatest See also:

• INTEREST

interest; it will be found inseparable from that of the violin both as regards the See also:

• INSTRUMENTS

instruments and the See also:

• ETYMOLOGY (Gr. grvµos, true, and X6yos, "account)

etymology of the • words; the remote See also:

• COMMON

common ancestor is the ketharah of the Assyrians, the See also:

• PARENT, SIMON NAPOLEON (1855– )

parent of the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek See also:

• CITHARA (Assyrian chetarah; Gr. KcOhpa; Lat, cithara; perhaps Heb. kinura, kinnor)

cithara . The See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans are responsible for the word fiddle, having bestowed upon a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of cithara--probably then in its first transition—the name of fidiculae (more rarely fidicula), a diminutive See also:

• FORM (Lat. forma)

form of fides . In Alain de See also:

• LILLE

Lille's De planctu naturae against the word See also:

• LIRA

lira stands as See also:

• EQUIVALENT

equivalent vioel, with the See also:

• DEFINITION (Lat. definitio, from de-finire, to set limits to, describe)

definition " Lira est quoddam See also:

• GENTLE (through the Fr. gentil, from Lat. gentilis, belonging to the same gens, or family)

gentle citharae vel fitola alioquin de reot . Hoc instrumentum est multum vulgare." This is a marginal See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note in See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing of the 13th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century.' Some of the transitions from fidicula to fiddle are made evident in the accompanying table: Latin . fidiculae See also:

• MEDIEVAL

Medieval Latin vitula, fitola . See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French viole, See also:

• VIELLE

vielle, viole . Provencal . viula . See also:

• SPANISH

Spanish viguela, vihuela, vigolo . Old High See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German . fidula . See also:

• MIDDLE

Middle High German videle .

German fiedel, violine . See also:

• ITALIAN

Italian See also:

• VIOLA [Fr. viole, Ger. Bratsche, Ital. viola, alto]

viola, violino . Dutch vedel . Danish fiddel . Anglo-Saxon fithele . Old See also:

• ENGLISH

English fithele, fythal, fithel, fythylle, fidel, fidylle, (See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south) vithele . For the descent of the See also:

• GUITAR (Fr. guitarre, Ger. Guitarre, Ital. chitarra, Span. guitarra)

guitar-fiddle, the first bowed ancestor of the violin, through many transitions from the cithara, see CITHARA, GUITAR and GUITAR-FIDDLE . In the minnesinger and See also:

• TROUBADOUR

troubadour fiddles, of which evidences abound during the 12th, 13th and 14th centuries, are to be observed the structural characteristics of the violin and its ancestors in the course of See also:

• EVOLUTION

evolution . The See also:

• PRINCIPAL

principal of these are first of all the shallow See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound.-See also:

• CHEST (Gr. Kiarl, Lat. cista, O. Eng. cist, test, &c.)

chest, composed of belly and back, almost See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat, connected by ribs (also See also:

• PRESENT

present in the cithara), with incurvations more or less pronounced, an arched See also:

• BRIDGE

bridge, a See also:

• FINGER

finger-See also:

• BOARD (O. Eng. bord)

board and strings (varying in number), vibrated by means ' See C . E . H. de Coussemaker, Memoire sur See also:

• HUCBALD (HUOBALDUS, HUBALDUS)

Hucbald (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1841).of a See also:

• BOW (pronounced " bo ")

bow . The central See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose sound-holes of stringed instruments whose strings are plucked by fingers, or plectrum have given See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place to smaller lateral sound- holes placed on each See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of the strings .

It is in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany,' where contemporary drawings of fiddles of the 13th and 14th centuries furnish an authoritative See also:

• CLUE

clue, and in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, that the development may best be followed . The German minnesinger fiddle with sloping shoulders was the prototype of the viols, whereas the guitar- fiddle produced the violin From See also:

• JULIUS

Julius Ruhlmann's Geschichte der through the intermediary of the Bogeninstrumente . Italian bowed See also:

• LYRA (" The Harp ")

Lyra . Minnesinger Fiddle . Germany, 13th Century, from the Manesse The fiddle of the Carolingian See also:

• MSS

MSS . See also:

• EPOCH (Gr. E7roxij, holding in suspense, a pause, from E1rxav, to hold up, to stop)

epoch,—such, for instance, as that mentioned by Otfrid of Weissenburg2 in his See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

Harmony of the Gospels (c . 868), " Sih thar ouch al ruarit This orgasm fuarit Lira joh fidula," &c., was in all See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability still an instrument whose strings were plucked by the fingers, a cithara in transition . (K .