The Virginal (generally known as 'a pair of virginals') was most commonly used by ladies for their private recreation, and from this circumstance is supposed to derive its name. Queen Elizabeth was fond of playing on it, but as it was in vogue before her time, there is no need to connect the name with the Virgin Queen. (Elizabeth's own Virginal is in South Kensington Museum.[10]) Its keyboard has four octaves, and the case is square, like that of a very old pianoforte. The strings of the virginal were plucked, by quills,[11] which were secured to the 'jacks' [see Sonnet cxxviii.], which in turn were set in motion by the keys. The strings were wire. The oldest country dance known, the Sellenger's (St Leger's) Round, of Henry VIII.'s time, was arranged by Byrd as a Virginal 'lesson' for 'Lady Nevell's booke.' Another well-known Virginal Book, that at the Fitzwilliam Museum at Cambridge, commonly known as 'Queen Elizabeth's Virginal Book,' is being published by Breitkopf & Härtel.
The first music ever printed for the Virginals was 'Parthenia,' published in London, 1611. This collection contains principally Pavans and Galliards by Byrd, Bull, and Gibbons. The title 'Parthenia, or the Maydenhead of the firste musicke,' etc., with a picture of a young lady playing on the virginal, seems to confirm our explanation of the name of this instrument.
Next to the viol, the lute[12] was the most popular stringed instrument. It was used both as a Solo instrument on which to play sprightly 'Ayres,' or as an accompaniment for the voice, or 'in consort' with other instruments. Naturally, it figured frequently in 'serenading' especially when a love song had to be sung outside a lady's window. The general shape of a Lute was that of a mandoline, but about four times as big. Like the mandoline, it had a flat belly, and a great basin-shaped back. But in every other respect it was entirely different. It was used more in the fashion of a guitar, and its strings (which were of gut) were plucked with the fingers.
Adrian Le Roy's book, published in Paris about 1570, says the six strings were tuned as follows—1st (minikin), C in third space, treble staff; 2nd (small mean), G on second line; 3rd (great mean), D under the staff; 4th (counter-tenor), B flat over the bass staff; 5th (tenor), F on fourth line; and 6th (base), C in second space.
Scipione Cerreto, however (Naples 1601), gives quite a different account of the Italian Lute of eight strings, the tuning of which seems to have extended the compass downwards to C under the bass staff. Thomas Mace (Musicks Monument, 1676) tells of several objections against the lute, the most noteworthy of which were—1st, that it was a costly instrument to keep in repair; 2nd, that it was out of fashion; and 3rd, that it made young people grow awry. Mace refutes these calumnies, the last of which no doubt was set about on account of the very awkward shape of the lute back, and the considerable size of the instrument. Hawkins (Hist. of Music, pp. 730 and 731) gives two pieces for the lute by Mace, or, rather, the same piece twice, first for one lute, then arranged for two. [[Appendix].]
The five lower strings of the lute were 'doubled'—i.e., there were two of each pitch, duplicates, which helped the tone of the chords by 'sympathetic' vibration. So there were really eleven strings, but only six different pitches. There were eight frets on the fingerboard.
Other varieties were the Arch-Lute[13] and the Theorbo-Lute, both of which had very long double necks, and a large number of strings. One Archlute in South Kensington Museum has as many as 24, eleven of which are duplications.
Talbot (of Salisbury dying).
'He beckons with his hand, and smiles on me,
As who should say, "When I am dead and gone,
Remember to avenge me on the French."—
Plantagenet, I will; and like thee, Nero,
Play on the lute, beholding the towns burn.'
Hen. 4. A. III, i, 206. Mortimer to Lady Mortimer.