This low-key virginal may look out of place among the grand, elaborately decorated instruments nearby, but instruments like this were a common sight in the 17th century. Most keyboards of the time featured simple decoration or none at all. When virginals fell out of fashion many were thrown away. The instruments that survived were usually those that looked the most pleasing.This instrument is of the ‘false inner-outer construction’ favoured by some Italian builders, giving the impression of a cypress instrument with an outer case. The most interesting feature of the instrument is the split accidental keys provided for d#/eb and for g#/ab, designed to allow the keyboard to be tuned in meantone and play in a wider range of keys. In modern equal temperament these notes are equivalent but a short demonstration of this instrument will reveal the difference. This type of keyboard was used for only a short period with surviving instruments from a small number of Italian cities. Purchased in 1984 with the assistance of the Government's Local Museums Purchase Fund, and the Friends of St Cecilia's Hall.
Technical description: Enharmonic rectangular Italian virginal. Integral case construction. Compass 57 notes C₂/E₂ - F₆ [C/E - f''']. Broken octave. Five split accidentals: in the middle octaves the E♭ keys have a D♯ at the back and the G♯ keys have an A♭ at the back. One set of 8-ft strings.
Signature/Marks: Written in pen and ink on the non-original jackrail "Agostinus Federigus Fecit in Pisis anno Domini 1766".
Decoration: The lid painting has a heraldic device, attributed to the Order of St Stephano.
Repair History: The lid painting is not original. Restored by Malcolm Rose in 1981.
Provenance
ex- William Hunt London; until 1978 belonged to Richard Luckett; until 1973 belonged to Michael Thomas.
; Purchased with assistance from the National Fund for Acquisitions, administered with Government funds by the National Museums of Scotland, and from the Friends of St Cecilia's Hall, 1984.