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Rh both of the sizes and the use of viols, if he will consider the treble viol to have corresponded closely with our modern violin, the tenor viol to the modern viola [which is also called Alto, Tenor, or Bratsche—i.e., braccio, 'arm' fiddle], and the bass-viol, or viol-da-gamba [so called because held between the knees], to the modern violoncello.

The principal difference from our modern stringed instruments was that all the viols had six strings, whereas now there is no 'fiddle' of any sort with more than four. A secondary difference was, that all the viol family had frets on the finger-board to mark out the notes, whereas the finger-boards of all our modern instruments are smooth, and the finger of the performer has to do without any help of that kind.

John Playford, in 1683, published his 'Introduction to the Skill of Music,' which gives an account of the viols, and Thomas Mace, of Cambridge, lay clerk of Trinity, in his 'Musick's Monument,' pub. 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