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."
Fig. 54.—Viola da Gamba. Italian. About 1600. H. 48 in., W. 14 in. No. 7360-’61.
Victoria and Albert Museum.
Fig. 55.—Viola da Gamba. Italian. 17th century. L. 47¼ in. No. 168-’82.
Victoria and Albert Museum.