1774-1837, the first to line the angular cutting of the nut, where it
slides along the stick, with a plate of metal; Simon, born 1808, who
also signs his bows on the stick near the nut; John Dodd of Richmond,
the greatest English bow-maker, who was especially renowned for his
violoncello bows, though his violin bows had the defect of being
rather short.

The violoncello bow is a little shorter than those used for violin and
viola, and the head and nut are deeper.

The principal models of double-bass bows in vogue at the beginning of
the 19th century were the _Dragonetti_, maintaining the arch of the
medieval bows, and the _Bottesini_, shaped and held like the violin
bow; the former was held over-hand with the hair inclining towards the
bridge, and was adopted by the Paris Conservatoire under Habeneck
about 1830; the great artist himself sent over the model from London.
Illustrations of both bows are given by Vidal (_op. cit._ pl. xviii.).

Messrs W.E. Hill & Sons probably possess the finest and most
representative collection of bows in the world. (K. S.)

FOOTNOTES:

[1] "Bow," the forepart or head of a ship, must be distinguished from
this word. It is the same word, and pronounced in the same way, as
"bough," an arm or limb of a tree, and represents a common Teutonic
word, seen in O. Eng. _bog_, Ger. _Bug_, shoulder, and is cognate
with Gr. [Greek: paechus], forearm. The sense of "shoulder" of a ship
is not found in O. Eng. _bog_. but was probably borrowed from Dutch
or Danish. "Bow," an inclination of the head or body, though
pronounced as "bough," is of the same origin as "bow," to bend.

[2] See F.J. Fetis, _Antoine Stradivari_, pp. 120-121 (Paris, 1856).

[3] Fetis, _op. cit._ p. 123.

[4] J. Ruhlmann, _Die Geschichte der Bogeninstrumente_ (Brunswick,
1882), p. 143.

[5] Fetis, _op. cit._ p. 119.

[6] Antoine Vidal, _Les Instruments a archet_ (Paris, 1876-1878),
tome i. p. 269

[7] _De Cantu et Musica Sacra_ (1774), tome ii. pl. xxxii. No. 18;
the MS. has since perished by fire.

[8] See, for an illustration of the bowed instrument on one of the
sides of a Byzantine ivory casket, 9th century, in the Carrand
Collection, Florence, A. Venturi, _Gallerie Nazionali Italiane_, iii.
(Rome, 1897), plate, p. 263; and _Add. MS. 19,352, British Museum_,
Greek Psalter, dated 1066.

[9] See Jean Cledat