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,'[1] 'you have a ready entertainment for the greatest prince in the world.'
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 countertenor, 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
- ↑ 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.
