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13. Italian harpsichord (1693): Detail of keyboard. Photo: Robert Lautman.

Harpsichord, 1694; made by Nicolaus DeQuoco, Italy One-manual: Range C-c³ (no C^♯); 2×8′, 1×4′

This instrument is one of the few examples of an Italian harpsichord with a third set of strings tuned an octave higher than the two unison choirs. It is possible that the third set was added to this instrument sometime after it was constructed with two unison registers.

Figure 15 shows the instrument before restoration; Figures 14 and 16 show the restored harpsichord removed from its heavy outer case and details of the handsome keyboard and moldings typical of Italian instruments.

14. DeQuoco harpsichord: Plan view.

15. DeQuoco harpsichord: Full view of instrument in outer case.

16. DeQuoco harpsichord: View of instrument removed from outer case.

17. DeQuoco harpsichord: Inscription on wrest plank.

18. DeQuoco harpsichord: Detail of keyboard. Photo: Robert Lautman.

Virginal, 1617; made by Giovanni Battista Boni, Cortona One manual; Range C/E-f³; 1×8′

The smaller virginals and spinets were commonly found in homes of modest means, as well as in royal courts. This polygonal virginal has six split keys which represent a complicated tuning scheme.

Keys 1-2: This is a system of short-octave tuning (see Ruckers Virginal) in which the two lowest accidentals are split into two sections. The back section is tuned to the apparent accidental, the front section to the short octave. Thus, on the Boni, the back section of the bottom split key is tuned F^♯, the front section is tuned D; the back section of the second lowest split key is tuned A^♭, the front section is tuned E.

Keys 3-6: The top four keys are split to provide for enharmonic tuning—that is, both D^♯ and E^♭, G^♯ and A^♭. In the meantone system of tuning, which was the prevailing tuning of the time, scales distant from the key of C were often out of tune. To improve the intonation of these scales, some makers divided some of the accidental keys to provide alternate