English violet (Viola d'Amore)

The English violet is closely related to the viola d’amore as both are unfretted bowed instruments with sympathetic strings. The chief difference is that the violet tends to have more sympathetic strings than bowed strings (often as many as fourteen or more) which usually gives the instrument a long pegbox. The English violet is usually larger than a viola d'amore which affords the possibility that the instrument was tuned lower. The sympathetic strings, which are never bowed or plucked (except for tuning) pass through a small tunnel under the instrument’s fingerboard. These strings ring "in sympathy" produce a rich, resonant sound with a longer decay. The English violet typically has a festooned outline as can be seen with The Met’s striking example made in 1726 by Paulus Alletsee, one of the leading builders of the instrument.

Little contemporary documentation about the instrument survives, with the notable exception of a description by Leopold Mozart in his 1756 book "Versuch einer gründlichen Violinschule" (A Treatise on the Fundamental Principles of Violin Playing" which states that the English violet is:

"Chiefly distinguishable from the Viola D'amore by having seven strings above and fourteen below, which must therefore be tuned differently. Owing to the number of lower sympathetic strings, the tone is stronger."

Production of the English violets declined after the first half of the eighteenth century, however there is currently a modern revival of the making and playing of the instrument. (Sam Laming, 2022)

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 a narrow plumwood strip, with slopes at upper and lower bouts, no purfling; belly and back overhang figured maple ribs; neck, pegbox and head of pearwood; ebonized fingerboard with fretwork at end and wedge added beneath treble side; fruitwood and ebony nuts, the lower one probably for shortening the strings; replacement pegs of ebony with small ivory button; stained pearwood tailpiece with fretwork and brass hooks on both sides for string attachment; spruce linings and soundpost board, horn endpin; reddish-brown varnish, back and neck probably revarnished; nearly open on both sides; beautifully carved blindfolded cupid head. (Rudolf Hopfner, 1997)















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 wedge added beneath treble side; fruitwood and ebony nuts, the lower one probably for shortening the strings; replacement pegs of ebony with small ivory button; stained pearwood? Tailpiece with fretwork and brass hooks on both sides for string attachment; spruce linings and soundpost board, horn endpin; reddish-brown varnish, back and neck probably revarnished; nearly open on both sides; beautifully carved blindfolded cupid head. (R. Hopfner, 1997)