Page:A Dictionary of Music and Musicians vol 4.djvu/321

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Grove, has been examined with respect to the soundboard barring ; we reproduce the diagram showing the barring, exhibited with the instru- ment in the same collection. Mersenne (Har-





��monie Universelle, 1636) mentions the skill of the contemporary French spinet- makers in thus preparing their soundboards. But that the

��Italians were their models is conclusively shown by the Antoni Patavini Spinet of 1550, belong- ing to Brussels, which we have now been able to examine, and the date of which there is no reason to dispute.

Notwithstanding the statement of Prsetorius, we have not found the name Virginal comnjon in the Netherlands. The ' Clavecin Rectangulaire ' is 'Vierkante Clavisimbal.' The Ruckers, as well as other Antwerp makers, made these oblong instruments and so called them.^ Although not bearing upon Virginals, except in the general Old English sense, we take this opportunity to describe the Ruckers instruments that have come to light since the last addition (vol. iii,

. 652) in the catalogue of them given, pp. 197-9 i the same volume.

��HANS RUCKERS DE OUDE (THE ELDER). (Continuation of Tables in vol. iii. pp. 197, 652.)





�General Description.

�Present Owner.

�Source of inform- ation.

� � � �ft. In. ft. In.

� � � �C3

�Bent side.


�7 6 by 2 11

�2 keyboards (put In by Messrs. Broadwood, 1885).

�H. M. The Queen.

�A. J. Hipkins.

� � � � �Kose No. 1. Case and compass as No. 47. In-


� � � � � � �PIAE, 1612. Found at Windsor Castle, 1883.

� � � � � � �This may have been the large Harpsichord

� � � � � � �left by Handel to Smith, and given by the

� � �C4



�5 7 by 1 11

�latter to King George III.

�T. J.Canneel, Director of

�T. J. CanneeL

� � � � � �the Academic Royale

� � � � � � �Ghent.

� �65

�Bent side.


�7 6 by 8

�2 keyboards ; black naturals. Rose No. 1. No

�Lord Fowerscourt.

�A. J. Hipkins,

� � � � �name of original maker, but inscribed 'Mis

� � � � � � �en ravalement par Pascal Taskin, 1774,' mean-

� � � � � � �ing that the compass of keys was extended.

� � � � � � �This beautiful instrument, painted in-

� � � � � � �side and out with Louis XIV. subjects by

� � � � � � �Vander Meulen, Is said to have belonged to

� � � � � � �Marie Antoinette. It will be remembered as

� � � � � � �having adorned the Louis Seize Room of the

� � � � � � �Historic Collection, Inventions Exhibition,

� � � � � � �London. 1885.


��7 8 by 3 1

��2 keyboards. Rose No. 6. Buff stop. 'Mts en j Museo Civico, Turin. ravalement par Pascal Taskin, 1782.' Case and top Lacquer with Japanese figures. Ex- j hibited, London. 1885.

��A. J. Hipkini.

��Lastly, to complete the short-octave theories put forth in SPINET, which we are enabled to do by nearer examination of instruments con- tributed to the present Historic Loan Collection (1885), the natural keys of the Patavini Spinet mentioned above are marked with their names. The lowest E key is clearly inscribed Do-C ; on the next, the F, is written F. This writing is not so early as 1550, because Do was not then used for Ut. The probable date is about one hundred years later, when the solmisation was finally giving way before the simple alphabetic notation. There are other instances. Then as to the cut sharps : l the small Maidstone clavi-

i The oldest spinet vrlth cut sharps In the Historic loan Collection Is according to the Facies, by Edward Blount ; but on the first key, and less legibly on the Jacks, is written Thomas Hitchcock his make In 1664 ' A similar autographic inscription of this maker, but dated 1703 has been brought forward by Mr. Taphouse of Oxford. We are thus enabled to find Thomas Hitchcock's working time. We think John Hitchcock came after him. VOL. IV. PT. 3.

��chord, said to have been Handel's, has the two nearer or front divisions intended for fourths below the next higher naturals, the two further or back divisions being the usual semitones. The first explanation, as offered in vol. iii, p. 6546, may be therefore assumed to be true, and this, as well as the preceding hypothesis, established as facts. [A.J.H.]


i. The most remarkable, and in many respects the most valuable collection of English I7th cen- tury instrumental music is that contained in the volume known for the last century by the mis- leading name of Queen Elizabeth's Virginal Book. This book, which is now preserved in the Fitzwilliam Museum at Cambridge, is a small folio volume containing 220 folios of paper

2 See ' De Llggeren der Antwerpsche Slnt Lucasgude.'by Rombouts and Van Lerius. Antwerp and the Hague, 1872

�� �