Viola d'Amore 1726 Paulus Alletsee German 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 mos

Viola d'Amore 1726 Paulus Alletsee German 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 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." The sympathetic strings also contribute to 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 Viola is a large model that is sometimes called the "English violet."Description: Wavy outline, flat back, back and top overhang, flame soundholes, seven bowed and nine sympathetic strings, pegbox surmounted by scroll, tailpiece replaced. Spruce belly of very even grain of medium width, with oval rosette inserted under fingerboard and stained beech and maple purfling; thin, flat back of figured maple in two parts separated by narrow (possibly) plumwood strip, with slopes at upper and lower bouts, no purfling; belly and back overhang figured maple ribs; neck, pegbox and head of (possibly) pearwood; ebonized fingerboard with fretwork at end and we

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