See also:

• REBEC, or REBECK (Med. Fr. rubebe, rebelle, rebec, gigue; Ger. Rubeba, Rebek, Geige, Lyra ; Ital. ribeba, ribeca, lyra; Sp. rabel, rabeca, rave, rabe)

REBEC, or REBECK (Med. Fr. rubebe, rebelle, rebec, gigue; Ger. Rubeba, Rebek, See also:

• GEIGE (O. Fr. gigue, gige; O. Ital. and Span. giga; Prov. gigua; O. Dutch gigue)

Geige, See also:

• LYRA (" The Harp ")

Lyra ; Ital. ribeba, ribeca, lyra; Sp. rabel, rabeca, rave, rabe)  , a See also:

• MEDIEVAL

medieval stringed See also:

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

instrument played with a See also:

• BOW (pronounced " bo ")

bow, derived from the See also:

• ORIENTAL

Oriental See also:

• REBAB, or RABAB (Persian rubab;2 Arabic rebab, rababa;3 Sp. rave, rabe,' rabel, arrabel, arrabil;s Fr. rubebe; It. rubeba)

rebab . Like the rehab (q.v.), the See also:

• REBEC, or REBECK (Med. Fr. rubebe, rebelle, rebec, gigue; Ger. Rubeba, Rebek, Geige, Lyra ; Ital. ribeba, ribeca, lyra; Sp. rabel, rabeca, rave, rabe)

rebec assumed at first one of two forms—the See also:

• PEAR (Pyrus communis)

pear-shaped See also:

• BODY

body with a wide See also:

• BASE

base, strung with three strings, or the See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long, narrow pear- or See also:

• BOAT (0. Eng. bdt; the true etymological connexion with Dutch and Ger. boot, Fr. bateau, Ital. battello presents great difficulties; Celtic forms are from O. Eng.)

boat-shaped body with two strings and, in addition, the other Oriental characteristics of the rehab, i.e. the vaulted back, the See also:

• ABSENCE (Lat. absentia)

absence of ribs and pegs set in the back of the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head . Except for the addition of a fingerboard, what is now recognised as the rebec underwent no structural development and never entered the domain of See also:

• ART

art . When the See also:

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

guitar-See also:

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

fiddle and the See also:

• OVAL (Lat. ovum, egg)

oval See also:

• VIELLE

vielle with five strings made their See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance in See also:

• EUROPE

Europe, apparently during the 11th See also:

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

century, a number of hybrids combining characteristics of both types of construction spread rapidly over western Europe . A See also:

• SPOON (O. Eng. span, a chip or splinter of wood, cf. Du. spoon, Ger. Spahn, in same sense, probably related to Gr. r4 v, wedge)

spoon-shaped instrument, in most cases without See also:

• NECK (O. Eng. hnecca; the word appears in many Teutonic languages; cf. Dutch ride, Ger. Nacken; in O. E. the common word was heals; cf. Ger. Hals)

neck, the head being joined directly to the wide shoulders of the body, must not be confounded with these hybrids; the See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass and capabilities of the instrument, which sometimes had but one single See also:

• STRING

string, must have been extremely limited . What the name of the instrument was in the various ages is not known, but it may be classed with the rebab and rebec, from which it only differs in the outline of the body . The See also:

• PRESENT

present writer discovered an Oriental archetype on a small terra-See also:

• COTTA
• COTTA, BERNHARD VON (1808—1879)
• COTTA, GAIUS AURELIUS (c. 124—73 B.c.)

cotta figure' in the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of the Gandhara school, unearthed at Yotkan on the site of the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• KHOTAN (locally ILcm)

Khotan . The See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round head is fastened directly to the shoulders, the three strings are thrown into See also:

• RELIEF

relief by deep indentations, the See also:

• BRIDGE

bridge tail-piece has three notches . The instrument (assigned to some See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period between the 5th and 8th centuries A.D.) may be compared with the See also:

• EUROPEAN

European medieval type, such, for instance, as the bowed spoon-shaped rebec on the See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital of the See also:

• LEFT

left See also:

• PILLAR (0. Fr. piler, Mod. pilier, Late Lat. pilare, from pila, column)

pillar in the miniature4 of See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David and his musicians, belonging to the loth-century psalter of See also:

• LABEO, MARCUS ANTISTIUS (c. 50 B.C.–A.D. 18)

Labeo See also:

• NOTKER

Notker at St Gallen; also with the musicians' See also:

• LYRA (" The Harp ")

lyra on the western See also:

• DOORWAY (corresponding to the Gr. Iran, Lat. porte)

doorway of the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church at See also:

• MOISSAN, HENRI (1852-1907)

Moissan; 5 and with the See also:

• BRITISH

British Museum Add . MS . 17333, in which several of these spoon-shaped, neckless See also:

• INSTRUMENTS

instruments are to be found . The pear-shaped rebec with wide base was in all See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability introduced into Europe through the See also:

• BYZANTINE

Byzantine See also:

• EMPIRE

Empire, and the narrow boat-shaped by the See also:

• MOORS (Lat. Mauri; Gr. Mavpot, dark men)
• MOORS, KABYLES, MZABITES

Moors byway of See also:

• SPAIN
• SPAIN (Espana)

Spain .

The first of these types is represented on one of the sides of an See also:

• IVORY (Fr. ivoire, Lat. ebur)
• IVORY, SIR JAMES (1765-1842)

ivory See also:

• CASKET

casket of Italo-Byzantine workmanship preserved among the Carrand Collection' in the Palazzo del See also:

• PODESTA (Lat. potestas, power)

Podesta in See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence . It belongs to the same See also:

• GROUP

group as the See also:

• VEROLI (anc. Verulae)

Veroli casket at the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• KENSINGTON

Kensington Museum, all of which are assigned to the 9th century at the latest . The pear-shaped rebec on the ivory casket, although like all rebecs it had no See also:

• SEPARATE

separate neck, was elongated to See also:

• FORM (Lat. forma)

form one, and terminated in a See also:

• LOZENGE (from the Fr. losenge, or losange; the word also appears in Span. losanje, and Ital. losanga; perhaps derived from a word meaning a stone slab laid on a grave, which appears in forms such as Provencal lousa, Span. losa, the ultimate origin of whic

lozenge-shaped head all in one piece with back and neck, the soundboard being cut to the same outline and glued to the back . There were four strings to these rebecs, of which there are many examples in See also:

• ENGLISH

English See also:

• MSS

MSS. from the 11th century . One of the best known, sometimes described as the Anglo-Saxon fythele, is the one played by Jeduthun in the usual See also:

• ILLUSTRATION

illustration of King David and his musicians prefaced to the See also:

• PSALMS, BOOK
• PSALMS, BOOK OF, or PSALTER

Psalms in an Anglo-Saxon psalter (See also:

• COTTON
• COTTON (Fr. coton; from Arab. qutun)
• COTTON, CHARLES (163o–1687)
• COTTON, GEORGE EDWARD LYNCH (1813–1866)
• COTTON, JOHN (1585–1652)
• COTTON, SIR ROBERT BRUCE

Cotton MS., Tib . C . VI., Brit . See also:

• MUS

Mus.) . Other examples are to be found in a Latin psalter illuminated by an English artist at the be-ginning of the 12th century (Lansd., 383, Brit . Mus.), in which the rebec has but one string and resembles the lyra teutonica mentioned above.' Medieval documentary See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence points to the fact that the long boat-shaped rebec had survived in Spain and spread by way of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France over western Europe . The much-quoted 14th-century 3 See Marc . Aurel See also:

• STEIN, CHARLOTTE VON (1742-1827)
• STEIN, HEINRICH FRIEDRICH KARL, BARON VOM

Stein, Ancient Khotan : Detailed See also:

• REPORT (O.Fr. report or raport, modern rapport, from O.Fr. reporter, mod. rap porter, Lat. reportare, to bring back, in poetical use only, of bringing back an account, news, &c.)

Report of the Archaeological Explorations in See also:

• CHINESE, JAPANESE AND

Chinese See also:

• TURKESTAN
• TURKESTAN, or HAZRET

Turkestan carried out by H.M .

See also:

• INDIAN

Indian See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

Government (See also:

• CLARENDON, CONSTITUTIONS OF
• CLARENDON, EDWARD HYDE, 1ST EARL OF (1609-1674)
• CLARENDON, GEORGE WILLIAM FREDERICK VILLIERS, 4TH EARL OF (in the Villiers line) (1800-r87o)
• CLARENDON, HENRY HYDE

Clarendon See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

Press, 1907), vol. i. pl. xlvii . No. voolId . 4 See See also:

• LAURENT, FRANCOIS (1810–1887)

Laurent Grillet, See also:

• LES

Les ancetres du violon (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, 1901), vol. i. p . 29 . The author calls these instruments lyra, which is a synonym of rebab . 5 See Kathleen Schlesinger, The Instruments of the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

Orchestra, See also:

• PART

part ii., " Precursors of the See also:

• VIOLIN

Violin See also:

• FAMILY

Family " (See also:

• LONDON

London, 1910), pl. iv. p . 154 . The spoon-shaped instrument with a long neck on pl. v . (9th century) must be referred to the pandoura family . ' The casket has been reproduced by A . Venturi in Gallerie Naz . Ital., vol. iii., 1897, p .

263; and L'Arte, vol. i . 1896, p . 24 . ' See also English psalters of the 13th century in the British Museum . Lansd . MS., ago, and See also:

• ARUNDEL
• ARUNDEL, EARLDOM OF
• ARUNDEL, EARLS OF
• ARUNDEL, THOMAS (1353-1414)

Arundel, 157, fol . 71b . 950 poem by Juan See also:

• RUIZ, JUAN (c. 1283-c. 1350)

Ruiz, archipreste de See also:

• HITA, GINES PEREZ DE (1544?-16o5?)

Hita,' containing an enumeration of the musical instruments of his See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, includes el rave gritador See also:

• CON

con su alta nota (the shrill rebec with its high See also:

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

note) and el rabe morisco . By a See also:

• PROCESS

process of See also:

• DEDUCTION (from Lat. deducere, to take or lead from or out of, derive)

deduction we have no difficulty in identifying the long, narrow, boat-shaped instrument as el rabe morisco, since the instrument has survived almost unchanged among the See also:

• ARABS

Arabs of the present day 2 from the 13th century, and probably from the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early centuries of our era . The shrill rebec (el rave gritador) with thinner strings was the pear-shaped instrument . In the magnificent MS. known as the Cantigas di See also:

• SANTA

Santa Maria, assigned to the 13th century,' there are three of those boat-shaped rebecs played with a bow and one twanged by the fingers; they have See also:

• FINGER

finger-boards and two strings, and are held like the See also:

• VIOLONCELLO (Fr. violoncelle, Ger. Violoncell, Ital. violoncello)

violoncello . Rebabs of this type, but without bows, were in use in ancient See also:

• PERSIA

Persia, c .

789 B.c., as is demonstrated by some little terra-cotta figures of musicians unearthed in a tell at Suza.° Two of the instruments, held, however, like the violin, are unmistakably the archetypes of this rebec . The rebec did not See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general tendency so noticeable in Europe from the 12th to the 15th century towards the ornamentation of musical instruments with See also:

• GROTESQUE

grotesque heads . The socket of the chaunter of the bagpipe, the heads of the See also:

• CITTERN (also CITHERN, CITHRON, CYTHREN, CITIIAREN, &C.; Fr. titre, cistre, cishre, guitare allemande or anglaise; Ger. Cither, Zither (mit Hals, with neck); Ital. cetera, tetra)

cittern and ghittern, the See also:

• MANDOLINE (Fr. mandoline; Ger. Mandoline; It. mandolina)

mandoline and the rebec, were all alike decorated with grotesque human or See also:

• ANIMAL
• ANIMAL (Lat. animalis, from anima, breath, soul)

animal heads, which in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England became proverbial as cittern-heads . The boat-shaped rebec survived as the sordino or pochette,' an instrument widely used by dancing masters until the 19th century, when it was abandoned for the See also:

• KIT (1) (probably an adaptation of the Middle Dutch kitie, a wooden tub, usually with a lid and handles; in modern Dutch kit means a tankard)

kit, a diminutive violin . The pochette, as its name in See also:

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

French and also in See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German (Taschengeige) indicates, was small enough to be carried in the See also:

• POCKET

pocket; it measured from 15 to 18 in. and was played with a correspondingly small bow . The 15th- and 16th-century rebec or See also:

• GEIGE (O. Fr. gigue, gige; O. Ital. and Span. giga; Prov. gigua; O. Dutch gigue)

geige, as the pear-shaped variety was called in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany (gigue in France), is figured by See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian Virdung;6 there were three strings tuned to G, D, A, and it had a finger-See also:

• BOARD (O. Eng. bord)

board cut in one piece with the See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound-board in some cases and forming a step . Some writers consider that the addition of the finger-board constituted the difference between the geige and the rebec . Facts hardly support this theory, since the lyra teutonica in the 9th or 11th century already had a finger-board, and See also:

• FARABI [Abu Na*r Muhammad ibn Tarkhan ul-Farabi] (ca. 870-950)

Farabi, the Arabic See also:

• SCHOLAR, SCHOLARSHIP

scholar of the loth century, who was equally See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar with the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek, See also:

• PERSIAN
• PERSIAN, SYRIAN, EGYPTIAN AND TURKISH

Persian and Arabic musical systems, distinctly states that the rebab was also known as the lyra . The See also:

• MODERN

modern Greek rebec with three strings is to this day played by rustic musicians under the name of lyra . Moreover, in Germany, bowed instruments of all kinds were at first known as geige, in contradistinction to those whose strings were plucked, classed together as cytharas or some word derived from it, the most modern example of which is the See also:

• ZITHER (Ger. Zither, Schlagzither, Streichzither; Ital. cithara)

zither . With the rise of the viols and later of the violin, which represent the most perfect type of construction for stringed instruments, the rebec tribe, inferior in every respect and without See also:

• ARTISTIC

artistic merit, was gradually relegated beyond the See also:

• PALE (through Fr. pal, from Lat. palms, a stake, for paglus, from the stem pag- of pangere, to fix; " pole " is from the same original source)

pale,' and by the 18th century had fallen into disuse except in certain rural districts, where for outdoor See also:

• MUSIC

music, their shrill, penetrating See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone continues to endear them to itinerant and See also:

• VILLAGE

village musicians . (K .

S.) ' See Mariano Soriano Fuertes, Historia de la Musica espannola (See also:

• MADRID

Madrid, 1855), vol. i. p . 105 . Aymeric du Peyrac, in his Vita Caroli Magni (13th century), mentions the rebec; see Du Cange, Glossarium, s.v . " Baudosa." Hieronymus of See also:

• MORAVIA (Ger., Ma/wen; Czech, Morava)

Moravia mentions the rubebe, and states that it has three strings, whereas the vielle had five (MS . Fonds Latin, No . 16 [663 actuel.], Paris Bibl . Nat.) . In the Minne Regel (" Rules of the See also:

• MINNESINGERS (Ger. Minnesinger from Minne, love)

Minnesingers "), 1404, See also:

• LINE

line 415: " Noch See also:

• DAN

dan quinterna, gyge, videle, lyra, rubeba "; see Der Minne Regel von Eberhardus Cercne aus See also:

• MINDEN

Minden, 1404, edited by See also:

• FRANZ, ROBERT (1815-1892)

Franz Xaver Woeber (See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, 1861), p . 24 . 2 For an illustration see Carl See also:

• ENGEL, ERNST (1821-1896)
• ENGEL, JOHANN JAKOB (1741-1802)

Engel, Researches into the See also:

• HISTORY

History of the Violin Family, and E . See also:

• HERON (Fr. heron; Ital. aghirone, airone; Lat. ardea; Gr. ipw&bs: A.-S. hragra; Icelandic, hegre; Swed. hager; Dan. heire; Ger. Heiger, Reiher, Heergans; Dutch, reiger)

Heron-See also:

• ALLEN, BOG OF
• ALLEN, ETHAN (1739–1789)
• ALLEN, GRANT CHARLES GRANT BLAIRFINDIEI, (1848–1899)
• ALLEN, JAMES LANE (1850– )
• ALLEN, JOHN (1476–1534)
• ALLEN, or ALLEYN, THOMAS (1542-1632)
• ALLEN, WILLIAM (1532-1594)
• ALLEN, WILLIAM FRANCIS (183o-1889)

Allen, The Violin, and how to make it . See also:

• EDWARD

Edward See also:

• BUHLE, JOHANN GOTTLIEB (1763-1821)

Buhle is of See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion that the miniatures in these MSS. are the See also:

• WORK

work of a 14th-century artist .

See See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die Musik-instrumente in den Minaturhandschriften See also:

• DES

des Mittelalters (See also:

• LEIPZIG

Leipzig, 1903) . ' See J. de See also:

• MORGAN
• MORGAN, DANIEL (1736-1802)
• MORGAN, EDWIN DENNISON (1811-1883)
• MORGAN, JOHN HUNT (1825-1864)
• MORGAN, JOHN PIERPONT (1837–1913)
• MORGAN, LEWIS HENRY (1818-1881)
• MORGAN, SYDNEY, LADY (c. 1783-1859)
• MORGAN, THOMAS (d. 1743)

Morgan, La Delegation en Perse (Paris, 1900), vol. i. pl. viii., Nos . 8 and 9 . ' There is a pochette in the Galpin Collection, c, 1700; for an illustration see Kathleen Schlesinger, The Instruments of the Orchestra, part ii., " Precursors of the Violin Family," p . 201, fig . 158 . 6 Musica getutscht and ausgezogen, See also:

• BASEL (Fr. Bale)
• BASEL (Fr. Belle, but Basle is a wholly erroneous form; Ital. Basilea)
• BASEL, CONFESSION OF
• BASEL, COUNCIL OF

Basel, 1511, reprinted in Publikationen d . Ges. f . Musikforschung, See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, 1883, Bd. xi . See also:

• ANTOINE, ANDRE (1858- )

Antoine Vidal in La Lutherie et les luthiers, to show the contempt with which the rebec was viewed in France in the 15th century, quotes from the charges of King See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles VIII., 1483, where the following entry occurs: " On donna sur son ordre 35 sots a une poure insensee qui jouoit du rebec." The See also:

• LIEUTENANT

lieutenant of Paris, in See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 27 . 1628, issued the following See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order: " Faisant See also:

• DEFENCE
• DEFENCE (Lat. defendere, to defend)

defence a tous musiciens de jouer dans les cabarets et mauvais lieux des dessus, basses ou autres parties de violon ains seulement du rebec." A well-known passage in See also:

• CHAUCER, GEOFFREY (? 1340-1400)

Chaucer testifies to a similar contempt in 14th-century England : " See also:

• BROTHER

Brother, quod he, here woneth an old rebekke," &c . (Freres See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

Tale, 7156) .