Antonio Stradivari, his life and work (1644-1737) . he supposition that these twodistinct types of violas were then generally recognised andknown respectively by the names cited. These pairs ofviolas by Stradivari were doubtless intended to be playedin compositions of the character of the Sonata a cinque,by G. Legrenzi if (1625-90), and the Sonata Varie, byJ. B. Vitali§ (1644-92). A brief reference to the course which viola-makingfollowed may prove instructive. Before 1660 we find the makers—Zanetto, Gasparo,Maggini, the Amati, and others—frequently constructingthe large viola, but very rarely
Antonio Stradivari, his life and work (1644-1737) . he supposition that these twodistinct types of violas were then generally recognised andknown respectively by the names cited. These pairs ofviolas by Stradivari were doubtless intended to be playedin compositions of the character of the Sonata a cinque,by G. Legrenzi if (1625-90), and the Sonata Varie, byJ. B. Vitali§ (1644-92). A brief reference to the course which viola-makingfollowed may prove instructive. Before 1660 we find the makers—Zanetto, Gasparo,Maggini, the Amati, and others—frequently constructingthe large viola, but very rarely the small one. From 1660to 1700 the small viola was superseding the large one,though fewer violas of any kind were then made. Between1700 and 1750 there was almost a cessation of viola-makingin all countries ; this coincides with the dearth of chamber ?^ See reproduction of Stradivaris writing to this Tenore viola and Contralto Wasielewski, Die Violine im XVII. Jahrhiindert.§ Groves Dictionary of Music, art. Tenor THE ^ARCHINTO AND MACDONALD 105 music composed at this period in which the viola was given a part We now pass on to 1696, which year gives us tworemarkable violas—that of the quintet of inlaid instru-ments which for some years was owned by the SpanishKing, Charles IV., and another known as the Archinto,from having belonged to a Count of that name, who wasalso the owner of a Stradivari quartet. We presume hewas the Conte Giuseppe Archinto to whom the well-known Alessandro Rolla dedicated some of his duets forviolin and viola. The inlaid tenor, an illustration of whichwe give, exhibits a masterly combination of choice material,appropriate ornamentation, and refined style. The figureof the maple used for back, sides, and head is charming,and homogeneous throughout ; the beauty of the slenderand wavy curls being shown up by the delicate goldenvarnish of perfect transparency and lightness of freshness of this instruments appea
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