and one of catgut, which he said bore "the beautiful name of Viola d'Amore (Viole d'Amour), in fact, for it expresses much languishment and tenderness." This must have been similar to the Viola d'Amore "of 5 wyre strings plaied on with a bow," described by Evelyn in 1679 as "above all for its sweetnesse and novelty." The tuning of the Viola d'Amore was at first the ordinary viol way of fourths and a third, but later the major common chord tuning was given to it [Music] known as "Harp-way Sharp" (on account of the facile arpeggio and major third). This tuning was adopted by Meyerbeer for his graceful _obbligato_. Whether Bach wrote for a true viola d'amore is doubtful; the compass employed in the Johannis-Passion suggests an ordinary viola which might have been partly strung with steel or brass. Berlioz, in his _Treatise on Instrumentation_, writes of the Love Viol with sympathetic strings, "The quality of the Viole d'Amour is faint and sweet; there is something seraphic in its partaking at once of the viola and the harmonics of the violin. It is peculiarly suitable to the legato style, to dreamy melodies, and to the expression of æsthetic or religious feeling." It will, I think, be conceded that when an instrument which has gone out of fashion possesses some special quality, such as is found in this fascinating viol, there is sufficient justification for bringing it back into use. The Viola d'Amore and other instruments in this work, that belong to the Music Class Room of Edinburgh University, have been drawn by permission of Professor Sir Herbert Oakeley, Mus. Doc., and composer to her Majesty the Queen for Scotland. [Illustration: XXVIII] PLATE XXVIII. CETERA, BY ANTONIUS STRADIVARIUS. An interesting Italian Cither, dated 1700, that may be compared for design, beauty, and workmanship with Lord Tollemache's English cither known as Queen Elizabeth's Lute. It belongs to the violinist Alard, and found a place in the splendid contribution of violins and other stringed instruments sent from Paris, by the mediation of Mr. E. Gand, to the Music Loan Collection in the Royal Albert Hall, 1885. It had also been lent by Mr. Vuillaume to the South Kensington Collection of 1872. This instrument, as well as the guitar drawn in the next Plate, show Stradivarius was not averse from making other instruments than violins. As well as cithers and guitars, he is known to have made a harp. Two views are given of this cetera, and one enlarged profile of the head and peg-box. It is a woman's head, said to represent Diana,--a satyr and nymph behind the peg-box serving to form a crook or handle for supporting the instrument, as the lizard in Mr. Donaldson's cetera already described. It will be seen this Cetera differs from the Quinterna in Plate XXIII.; it is in form one of the oldest existing musical instruments. [Illustration: XXIX] PLATE XXIX. GUITAR, BY ANTONIUS STRADIVARIUS.