The Typical Italian Polygonal Virginal
To give a clear idea of the construction of the Italian polygonal virginal, a detailed description of one particular example is presented here. This virginal is included in the Hugo Worch collection at the U.S. National Museum. The maker's name is not known, but the instrument is believed to have been built around 1600.
As is true of the great majority of Italian virginals and harpsichords of the 16th and 17th centuries, the instrument proper is removable from its outer case. The outer case (fig. 2), of sturdier construction than the virginal which it was designed to protect, is made of wood about 1/2" thick and is decorated with paintings of female figures and garlands. The original legs are missing.
Our main interest is in the virginal proper (fig. 3), the construction of which is comparable in some ways to that of the violin. The very thin sides of the virginal are held together at the corners by blocks, and the soundboard is supported by a lining.
The cross section drawing (fig. 4) shows the 9⁄16" thick bottom and the sides which are 1⁄8" thick. The lining, 1⁄2" by 1-1⁄3", runs around four sides of the instrument, the wrest plank replacing it on the fifth side. The soundboard thickness, measured inside the holes through which the jacks pass, varies from 1⁄16" in the bass to 1⁄8" in the treble. The manner in which variations in thickness are distributed over the entire soundboard has not been determined. The cross section drawing also shows the beautifully executed mouldings that make the sides appear to be thicker than they really are.
The positions of the knee braces, the shape of which can be seen in figure 4, are shown along either side of the keyboard in figure 5. These braces are 3⁄4" thick. The positions of the blocks, small pieces with the grain running perpendicular to the bottom, and the wrest plank, which is 1-1⁄4" thick, are also shown. The two ribs are attached to the underside of the soundboard in 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.