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Viola
Maker: attributed to Andrea Amati
Date: 1536-1559 and 1700-1710 ca.
Place Made:Paris, France
Place Made:Cremona, Italy, Europe
Model: King Henry II
Serial No: none
SignedPrinted on large paper label: Antonius E Hieronimus F Amaty / Cremonem Andrée Fil F 1593.
MarkingsPainted in black on ribs: DONEC TOTVM IMPLEAT ORBEM
Paper label printed in black ink, under treble f-hole but oriented to be read through bass f-hole: 4800
Paper label printed in black ink, under treble f-hole but oriented to be read through bass f-hole: 4800
DescriptionThis viola provides the first evidence for the commisioning of decorated violin family instruments for the French royal court. It bears the motto of King Henry II of France, in use from 1536, when he became Dauphin, to his death in 1559. The technique of laying down black ink, perhaps to be covered in gilding, can be seen in both this instrument and the instruments likely made for the wedding of Philip II of Spain and Elisabeth of Valois in 1559.
The original portions of the instrument are the severely reduced back and ribs. The top is French, with dendrochronology suggesting construction in the first quarter of the 18th century. The scroll may be Italian or French. Tracks of earlier purfling on both the front and back show that the instrument had sloped shoulders at one point. Since the top is also reduced in size, it suggests that the instrument may have been reconstructed as a composite quinton in France in the second half of the 18th century. Since this instrument’s dimensions were small, when it was reconstructed as a viola, probably early in the 19th century based on the bass-bar dimensions, the only option was to create a very small viola. The neck was re-angled at some point in the 20th century, perhaps by Willis Gault. Thus, the viola has had a minimum of three configurations that are apparent from its current state: first, as a very large tenor viola, second, as a composite quinton, third as a small composite viola.
Top attributed to Jacques Bouquet, Paris, ca. 1700-1710
Top: two-piece, quarter-cut spruce: narrow grain; large maple pin through top into bottom block on bass side of center joint
Back: four-piece maple, prominent narrow curl: quarter-cut on bass side; cut off-the-quarter on treble side; wings in upper bouts due to reduction of back dimensions
Ribs: quarter-cut maple: faint, narrow curl; bottom rib divided by ebony strip
Head: maple: plain; rectangular cutout with half-circles at each end in pegbox at D-string position to facilitate stringing
Purfling: very wide
Decoration: painted in black on ribs with the motto of Henry II, with his triple, interlocking crescents on the bass center rib, and two archery bows with broken strings on treble center rib; back bears a black, silver, and gold emblem, currently unidentified, topped with a gold open crown; dark brown fleurs de lys are painted at each corner of back and partially visible on upper treble bout
Varnish: dark red brown
Fingerboard: ebony; slightly beveled at C-string position
Nut: ebony
Tailpiece: ebony; saddle does not fully extend to edges
Tailgut: black plastic
Pegs: four rosewood
Saddle: ebony
Endpin: ebony with flat head engraved with four concentric circles
F-holes: undercut; inside edges painted dark brown
Linings: spruce
Corner blocks: spruce; small
Top block: spruce
Bottom block: spruce
Bassbar:
Other: linen linings at back and top joints with spruce cleats
The original portions of the instrument are the severely reduced back and ribs. The top is French, with dendrochronology suggesting construction in the first quarter of the 18th century. The scroll may be Italian or French. Tracks of earlier purfling on both the front and back show that the instrument had sloped shoulders at one point. Since the top is also reduced in size, it suggests that the instrument may have been reconstructed as a composite quinton in France in the second half of the 18th century. Since this instrument’s dimensions were small, when it was reconstructed as a viola, probably early in the 19th century based on the bass-bar dimensions, the only option was to create a very small viola. The neck was re-angled at some point in the 20th century, perhaps by Willis Gault. Thus, the viola has had a minimum of three configurations that are apparent from its current state: first, as a very large tenor viola, second, as a composite quinton, third as a small composite viola.
Top attributed to Jacques Bouquet, Paris, ca. 1700-1710
Top: two-piece, quarter-cut spruce: narrow grain; large maple pin through top into bottom block on bass side of center joint
Back: four-piece maple, prominent narrow curl: quarter-cut on bass side; cut off-the-quarter on treble side; wings in upper bouts due to reduction of back dimensions
Ribs: quarter-cut maple: faint, narrow curl; bottom rib divided by ebony strip
Head: maple: plain; rectangular cutout with half-circles at each end in pegbox at D-string position to facilitate stringing
Purfling: very wide
Decoration: painted in black on ribs with the motto of Henry II, with his triple, interlocking crescents on the bass center rib, and two archery bows with broken strings on treble center rib; back bears a black, silver, and gold emblem, currently unidentified, topped with a gold open crown; dark brown fleurs de lys are painted at each corner of back and partially visible on upper treble bout
Varnish: dark red brown
Fingerboard: ebony; slightly beveled at C-string position
Nut: ebony
Tailpiece: ebony; saddle does not fully extend to edges
Tailgut: black plastic
Pegs: four rosewood
Saddle: ebony
Endpin: ebony with flat head engraved with four concentric circles
F-holes: undercut; inside edges painted dark brown
Linings: spruce
Corner blocks: spruce; small
Top block: spruce
Bottom block: spruce
Bassbar:
Other: linen linings at back and top joints with spruce cleats
DimensionsBack length: 386 mmTotal viola length: 626 mm
Upper bout width: 178 mmStop length: 201 mm
Center bout width: 117 mmVibrating string length: 340 mm
Lower bout width: 225 mmNeck length (bottom of nut to ribs): 138 mm
Upper rib height: 31-34 mm
Center rib height: 31-35 mm
Lower rib height: 31-35 mm
Upper bout width: 178 mmStop length: 201 mm
Center bout width: 117 mmVibrating string length: 340 mm
Lower bout width: 225 mmNeck length (bottom of nut to ribs): 138 mm
Upper rib height: 31-34 mm
Center rib height: 31-35 mm
Lower rib height: 31-35 mm
Terms
Credit Line: Purchase funds gift of Kevin Schieffer, Sioux Falls, 2011, in recognition and honor of the tireless lifetime commitment of André P. Larson, Founding Director (1973-2011) of the National Music Museum, who transformed an important family collection into a pre-eminent international institution.
Not on view
Object number: 14560