the positions indicated. The jack guide, built up of separate pieces held together by long strips down either side, is glued to the underside of the soundboard and extends as far as the lining in the treble but stops a little short of it in the bass (fig. 5). The jack guide is 15⁄16" thick.

The layout of the soundboard in figure 6 gives the relative positions of the bridges, tuning pins, hitch pins, strings, jacks, and jack rail. There is, of course, one jack and one string per key. The jacks presently in this virginal, not being original, will not be described. Typical Italian jacks will be described later. The bridges are 5⁄16" wide and vary in height from 7⁄16" in the bass to 3⁄8" in the treble. A cross section of one of the bridges appears in figure 4. The jack rail, also shown in figure 4, extends over the jacks 1-1⁄8" above the soundboard. It serves not only to prevent the jacks from flying out during play but also to terminate the downward fall of the fronts of the keys. The keys do not drop far enough to touch the key frame, but instead are stopped by the jacks striking the jack rail.

Figure 4.—Cross section of polygonal virginal. a, side; b, bottom; c, knee; d, liner; e, soundboard; f, rib; g, bridge; h string; i, jack rail. Scale, 1:2.

The keyboard has an apparent compass of four octaves and one note from E to f´´´. Short octave tuning would have extended the compass down a major third to C in the bass, with the E key sounding C, the F# key sounding D, the G# key sounding E, and the remaining keys sounding their proper pitches. These three keys will hereafter be referred to as C/E, D/F# and E/G#.

The lowest eight keys have small wire eyes attached to their undersides near the front. A corresponding slot is cut through the inner and outer cases, allowing the eyes to be connected to a short pedal keyboard which has not survived.

The keys themselves vary in length from 10" in the bass to 18-1⁄2" in the treble; they are mounted on a trapezoidal key frame which is removable from the instrument. The balance rail and balance rail pins are on a diagonal, resulting in a gradual but noticeable change in the touch from one end of the keyboard to the other. The rack, 1⁄2" thick and 1-3⁄4" high, is fastened along the back of the key frame and has one vertical saw cut for each key. Projecting from the back of each key is a small sliver of wood which rides in its proper saw cut and serves to guide the key. The natural keys are veneered with boxwood and have arcaded boxwood fronts. The sharps are small blocks of hardwood stained black.

The sides, soundboard, ribs, jacks, guide, jackrail, and mouldings are made of cypress, the wrest plank and bridges are of walnut, and the framework, bottom, keys, and key frame are of pine.

The photographs (figs. 2, 3) show the decorative use of ivory studs. On the soundboard appears the Latin inscription Vita brevis, ars longa. A laminated parchment rose, 3-3⁄16" in diameter, is placed in the soundboard in the position indicated in figure 6. A typical example of this decorative device is shown in figure 12.

The above-described virginal is typical of Italian practice. Other examples studied generally have differed from it only in small details, except in the case of compass and vibrating lengths of strings. These factors will be discussed in detail in a following section.

Figure 5.—Interior of polygonal virginal. a, lining; b, wrest plank; c, rib; d, jack guide; e, knee; f, rack. Broken lines indicate positions of corner blocks and brace under wrest plank. Scale, 1:8.

Figure 6.—Soundboard layout of polygonal virginal. Scale, 1:8.

Figure 7.—Ridolfi harpsichord removed from case.

Figure 8.—Cross section of Ridolfi harpsichord. a, bottom; b, knee; c, lining; d, soundboard. Scale, 1:2.

The Typical Italian Harpsichord

The instrument chosen to illustrate the stylistic features of the Italian harpsichord is also in the collection of the U.S. National Museum. This harpsichord, purchased for the Museum in 1892 by Dr. G. Brown Goode, was made in 1665 by Giacomo Ridolfi, who claimed Girolamo Zenti as his teacher. The inscription on the nameboard reads "Jacobus Rodolphus Hieronymi de Zentis Discipulus MDCLXV Facieba."

Like the virginal described above, this harpsichord is separable from its outer case. The outer case rests on a separate stand consisting of three gilt cupids and a floral garland. Since the painted decoration of this case is not original, another outer case, belonging to a harpsichord made by Horatius Albana in 1633, was selected for the illustration (fig. 1).

Two unison strings per key and two registers of jacks are provided. The apparent compass of the keyboard is from C/E to c´´´. The remains of pedal connections can be seen on the lowest eight keys.

The sides of the harpsichord are 5⁄32" thick; the bottom is 9⁄16" thick. The sides and lining are supported by knees that do not extend clear across the bottom of the instrument as they do in the virginal.

The knees are small triangular pieces, as shown in figure 8. Since the added tension of the second set of strings demands a somewhat more substantial framework than that employed in the virginal, a series of braces are attached to the floor. These are connected to the lining by several diagonal braces (fig. 9). This produces a remarkably strong but very light structure. The keys (not shown) are of more constant length than those of the