Metropolitan Museum of Art
The researcher visited the Metropolitan Museum of Art in New York City and took pictures of the different violas over time in the instrument exhibit. The pictures were taken by the researcher but the descriptions were taken from the online artifact descriptions in the collection. The initial viola came from the viola de gamba, part of the viol family. The only popular modern instrument of the viol family today is the double bass, charecterized by it's pointed top, long structure, c-shaped holes, and more squared curve. The latest in this exhibited dated back to 17th century England. Then, it evolved to be the viola d'amore, part of the violin family, and changing shape and size quite often throughout 18th century Germany and England. The structure becomes more simplified in strings, acoustically efficient, and rounded.
Viola da Gamba
Maker: labeled Richard Meares (English, London 1647–1725 London)
Date: ca. 1680
Geography: London, England, United Kingdom
Medium: WoodViols, the most esteemed bowed instruments of the late Renaissance, were only gradually displaced by the violin family. Viols differ from violins chiefly in shape, in number of strings and tuning, and in having fretted necks. All viols are played in an upright position between the knees or on the legs ("gamba" means "leg"), and the bow is held palm upward. The sound is less brilliant and quieter than that of the violin family of instruments. Chamber music for a consort of four to six viols was composed during the Renaissance and Baroque eras, and solo works for the bass viol were being played until nearly the end of the eighteenth century. This instrument is of the type known as a division viol, measuring between two and three inches shorter than a consort viol.
Although the instrument bears the label of the celebrated Richard Meares of St. Paul's Churchyard, London, which was renowned as a center for violin making, the label reveals only one part of a probable narrative that illustrates the intricacies of trade and succession in the musical instrument making business. Stylistic and structural features of this instrument such as its thin purfling and geometrically patterned ribs, suggest that it was most likely made in the workshop of Edward Lewis, who died before the instrument was completed. It is likely that Richard Meares II purchased the unfinished older instrument at a sale of Lewis's effects, completed it and marked it with his father's label. The outstanding workmanship of the viol and the richness of the decoration point to a well-to-do customer. The dating of the instrument has been determined from dendrochronology of the carved-out two-part belly, which established 1672 and 1673 as the youngest growth rings. The earliest possible manufacturing date of the instrument is about 1677. Despite the ambiguity surrounding its authorship, scholarship has demonstrated that it is an important example of early eighteenth-century English viol making.
Maker: labeled Richard Meares (English, London 1647–1725 London)
Date: ca. 1680
Geography: London, England, United Kingdom
Medium: WoodViols, the most esteemed bowed instruments of the late Renaissance, were only gradually displaced by the violin family. Viols differ from violins chiefly in shape, in number of strings and tuning, and in having fretted necks. All viols are played in an upright position between the knees or on the legs ("gamba" means "leg"), and the bow is held palm upward. The sound is less brilliant and quieter than that of the violin family of instruments. Chamber music for a consort of four to six viols was composed during the Renaissance and Baroque eras, and solo works for the bass viol were being played until nearly the end of the eighteenth century. This instrument is of the type known as a division viol, measuring between two and three inches shorter than a consort viol.
Although the instrument bears the label of the celebrated Richard Meares of St. Paul's Churchyard, London, which was renowned as a center for violin making, the label reveals only one part of a probable narrative that illustrates the intricacies of trade and succession in the musical instrument making business. Stylistic and structural features of this instrument such as its thin purfling and geometrically patterned ribs, suggest that it was most likely made in the workshop of Edward Lewis, who died before the instrument was completed. It is likely that Richard Meares II purchased the unfinished older instrument at a sale of Lewis's effects, completed it and marked it with his father's label. The outstanding workmanship of the viol and the richness of the decoration point to a well-to-do customer. The dating of the instrument has been determined from dendrochronology of the carved-out two-part belly, which established 1672 and 1673 as the youngest growth rings. The earliest possible manufacturing date of the instrument is about 1677. Despite the ambiguity surrounding its authorship, scholarship has demonstrated that it is an important example of early eighteenth-century English viol making.
Viola d'Amore
Maker: Giovanni Grancino (Italian, Milan 1637–1709 Milan)
Date: 1701
Geography: Milan, Italy
Medium: Spruce, maple, ebony, bone
The instrument represents the early form of the viola d’amore, which was strung already with metal strings but not yet with sympathetic strings. The oldest written evidence for the early viola d’amore is a remark by the English diarist John Evelyn, who in 1679 called it a new instrument, strung with five metal strings and “sweet” in its sound. The early viola d’amore was not standardized in form or in number of strings and tuning. Three other instruments of the same festoon shape survive from Grancino’s workshop, but each is a somewhat different size and has a different numbers of strings. The only instrument with its original neck has four strings, two others have five, and
this one has been restored—apparently correctly—with six strings. Grancino is often considered the most renowned maker of his generation outside Cremona.
Maker: Giovanni Grancino (Italian, Milan 1637–1709 Milan)
Date: 1701
Geography: Milan, Italy
Medium: Spruce, maple, ebony, bone
The instrument represents the early form of the viola d’amore, which was strung already with metal strings but not yet with sympathetic strings. The oldest written evidence for the early viola d’amore is a remark by the English diarist John Evelyn, who in 1679 called it a new instrument, strung with five metal strings and “sweet” in its sound. The early viola d’amore was not standardized in form or in number of strings and tuning. Three other instruments of the same festoon shape survive from Grancino’s workshop, but each is a somewhat different size and has a different numbers of strings. The only instrument with its original neck has four strings, two others have five, and
this one has been restored—apparently correctly—with six strings. Grancino is often considered the most renowned maker of his generation outside Cremona.
Viola d'Amore
Maker: Paulus Alletsee (active ca. 1698–ca. 1738)
Date: 1726
Geography: Munich, Germany
Medium: Spruce, maple
Viola d'amore with seven melody strings and 9 sympathetic strings; a large model sometimes called the "English violet."
Maker: Paulus Alletsee (active ca. 1698–ca. 1738)
Date: 1726
Geography: Munich, Germany
Medium: Spruce, maple
Viola d'amore with seven melody strings and 9 sympathetic strings; a large model sometimes called the "English violet."
Viola d'Amore
Maker: Johannes Florenus Guidantus, Italian (Italian, Bologna 1687–1760 Bologna)
Date: 18th century
Geography: Bologna, Italy
Medium: Spruce, maple, ebony
The viola d'amore, or viola "of love," is a bowed stringed instrument which gained great popularity in the eighteenth century. Much of its history, including the derivation of its name, is unknown. It has many characteristics of the viol family such as a flat back, ribs that are flush with the top and back, and a rosette in addition to soundholes. Yet, like a violin, it is unfretted and held under the chin while played. Violas d'amore typically have seven playing strings, though instruments with other numbers of strings are not unusual. Perhaps the most distinguishable characteristic of the eighteenth-century viola d'amore is the presence of sympathetic strings, which are not played but located behind the bowed strings and vibrate "in sympathy." The sympathetic strings contribute to produce a tone that is clear and often described as "silvery," as well as creating a more resonant sound with a longer decay. Sympathetic strings are found on several European folk instruments, including the Swedish nyckelharpa and the Norwegian hardanger fiddle. They are prevalent on stringed instruments from India, most notably the sitar. The viola d'amore was popular with eighteenth-century composers and can be found in the works of J. S. Bach, Vivaldi, Telemann, Haydn, and Locatelli.
This beautiful example has a festooned body with a top of spruce and back and sides of maple. The soundholes are unusually shaped, but echo and accentuate the unusual outline of the body. A parchment rose punctures the body just below the fingerboard. The finial of the instrument is decorated with a carving of a young girl with her head down and eyes closed depicting the idea that "love is blind."
Viola
Cremona, 1536-60
Two-piece spruce top, single-piece slab cute maple
Andrea Amati is credited with establishing the modern form of the violin in his workshop in Cremona in the mid-sixteenth century. He also built other members of the violin family such as this viola and was the founder of the Cremonese school of violin making. Early violas were made in a variety of sizes, and this instrument, while large by modern standards, was even larger before being slightly cut down.
Cremona, 1536-60
Two-piece spruce top, single-piece slab cute maple
Andrea Amati is credited with establishing the modern form of the violin in his workshop in Cremona in the mid-sixteenth century. He also built other members of the violin family such as this viola and was the founder of the Cremonese school of violin making. Early violas were made in a variety of sizes, and this instrument, while large by modern standards, was even larger before being slightly cut down.
Viola
Maker: Jacob Stainer (Austrian, ca. 1617–1683)
Date: ca. 1660
Geography: Absam, Austria
Medium: Spruce, maple, blackwood
Jacob Stainer is known as the "Father of the German violin" and his instruments were favorites of the Bach and Mozart families. They remained the most sought-after violins and violas in the world until the beginning of the 19th century. Stainer’s instruments are characterized by their very full arching, vertical f-holes with well-proportioned eyes and by their meticulous workmanship throughout.
During the 17th century, violas were true tenor instruments with large bodies and often had tall ribs. As repertoire became more demanding, makers built smaller violas and cherished old instruments were cut down. This viola is one of the few surviving from the 17th century that has not been reduced in size.
Maker: Jacob Stainer (Austrian, ca. 1617–1683)
Date: ca. 1660
Geography: Absam, Austria
Medium: Spruce, maple, blackwood
Jacob Stainer is known as the "Father of the German violin" and his instruments were favorites of the Bach and Mozart families. They remained the most sought-after violins and violas in the world until the beginning of the 19th century. Stainer’s instruments are characterized by their very full arching, vertical f-holes with well-proportioned eyes and by their meticulous workmanship throughout.
During the 17th century, violas were true tenor instruments with large bodies and often had tall ribs. As repertoire became more demanding, makers built smaller violas and cherished old instruments were cut down. This viola is one of the few surviving from the 17th century that has not been reduced in size.
Photo credit to the researcher. Description credit to the Metropolitan Museum of Art.