Such were the instruments from which our violin has gradually been
developed, until it attained, in the seventeenth century, that degree
of perfection which has never since been surpassed. The violin makers
whose instruments are still most highly valued are:――Antonio Amati,
whose most flourishing period dates between the years 1592 and 1619;
Nicolo Amati, the nephew of the preceding, 1662-1692; Giuseppe
Guarneri, 1690-1707; Antonio Stradivari, 1700-1725; and Jakob Stainer,
1650-1670. All these celebrated makers, except Jakob Stainer, were
Italians, living at Cremona. Jakob Stainer (or Jacobus Steiner) was a
native of Absam, a village near Innsbruck in the Tyrol. Few musical
instruments have experienced so great an increase in price as the
violins of these celebrated makers. Stainer used himself to carry his
violins to the monasteries situated in the neighbourhood of Absam,
where he lived. He sold them at 40 florins apiece. It was not until
after his death that his workmanship was duly appreciated.
The _viola da gamba_ (French, _basse de viole_; German, _Kniegeige_)
derives its name from its being held between the knees of the
performer (Figs. 54 and 55). It was the predecessor of the
violoncello, and was made with frets. It was a favourite instrument in
England at the time of Queen Elizabeth, and even ladies played it
occasionally. In England it was called _base viol_, and also
_viol-de-gambo_. Sir Toby Belch, in Shakespeare’s “Twelfth Night,”
says of Sir Andrew Aguecheek:――
“He plays o’ the viol-de-gamboys, and speaks three or four languages
word for word without book, and hath all the good gifts of nature.”
[Illustration: FIG. 54.――VIOLA DA GAMBA. Italian. About 1600. H. 48
in., W. 14 in. No. 7360-’61.
Victoria and Albert Museum.]
[Illustration: FIG. 55.――VIOLA DA GAMBA. Italian. 17th century. L.
47¼ in. No. 168-’82.
Victoria and Albert Museum.]
[Illustration: FIG. 56.――VIOLA DI BARDONE, OR BARYTON, WITH BOW.
Inscribed “Jaques Sainprae, à Berlin.” German. 17th
century. L. 54 in., W. 16½ in. No. 1444, 1444ᵃ-’70.
Victoria and Albert Museum.]
Public-domain text, read in full here on John Shaqi.
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