combined a mixture of different instruments—a small band, essentially—usually comprising a gathering of social amateurs and typically including such instruments as a bass viol, a lute or orpharion (a wire-strung lute, metal-fretted, flat-backed, and festoon-shaped), a cittern, a treble viol (or violin, as time progressed), sometimes an early keyboard instrument (virginal, spinet, or harpsichord), and whatever other instruments or players (or singers) might be available at the moment. The single most common and ubiquitous pairing of all was always and everywhere the lute and bass viol: for centuries, the inseparable duo. The bass viola da gamba remained in use into the 18th century as a solo instrument (and to complement the harpsichord in basso continuo). It was a favorite instrument of Louis XIV and acquired associations of both courtliness and "Frenchness" (in contrast to the Italianate violin). Composers such as Marc-Antoine Charpentier, François Couperin, Marin Marais, Sainte Colombe, Johann Sebastian Bach, Johannes Schenck, DuBuisson, Antoine Forqueray, Charles Dollé and Carl Friedrich Abel wrote virtuoso music for it. Georg Philipp Telemann published his Twelve Fantasias for Viola da Gamba solo in 1735, when the instrument was already becoming out of fashion. However, viols fell out of use as concert halls grew larger and the louder and more penetrating tone of the violin family became more popular. In the 20th century, the viola da gamba and its repertoire were revived by early music enthusiasts, an early proponent being Arnold Dolmetsch. The treble viol in d and the even smaller pardessus de viole in g (often with only five strings) were also popular instruments in the 18th century, especially in France. Composers like Jean-Baptiste Barrière, Georg Phillipp Telemann and Marin Marais wrote solo- and ensemble pieces for treble or pardessus. It was also common to play music for violins or flutes or unspecified top parts on small viols. Historic viols survive in relatively great number, though very few remain in original condition. They can often be found in collections of historic musical instruments at museums and universities. Here are some of the extant historic viols at The Metropolitan Museum of Art: Division Viol by Barak Norman, London, 1692 Bass Viol, labeled Richard Meares, London, ca. 1680 Bass Viol by John Rose, ca. 1600, London English viol, unsigned, 17th century in spectacularly original condition Division Viol, School of Tielke, Hamburg, ca. 1720 Bass Viol by Matthias Humel, 18th century, Nuremberg Bass Viol, Germany, 18th