1676, gives full instructions how many viols and other instruments of
this kind are necessary. From these we learn that viols were always
kept in sets of six--two trebles, two tenors, and two basses--which
set was technically known as a 'Chest' of viols. Mace also says that
the treble viol had its strings just half the length of the bass viol,
and the tenor was of a medium size between these. Also he says that if
you add to these a couple of violins (which were then thought somewhat
vulgar, loud instruments) for jovial occasions, and a pair of 'lusty,
full-sized Theorboes,'[8] 'you have a ready entertainment for the
greatest prince in the world.'
[Footnote 8: Theorbo, a lute with a double neck; so called from
Tiorba, a mortar for pounding perfumes, referring to the basin-shaped
back of a lute.]
The tuning of the six strings on the _bass_-viol was, on the bass
staff, 1st string, or treble, D over the staff; 2nd or small mean, A
on the top line; 3rd or great mean, E in the third space; 4th or
counter-tenor, C in the second space; 5th or tenor, or gamut, G on the
first line; and the 6th or bass, low D, under the staff. On the most
complete viol there would be seven frets, arranged semitonally, so the
compass of the Bass Viol or Viol da Gamba would be about two octaves
and a half, from D under the bass staff to A on the second space of
the treble staff. [In South Kensington Museum is a Viol da Gamba with
no less than twelve frets still remaining.
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