=Principle of the Harpsichord=.—Instruments of the Harpsichord class were especially numerous in Italy, France and England. They differed from the Clavichord chiefly in the method of setting the string in vibration. This was done by _plucking_ the string with a quill set in a jack at the end of the key, the action so arranged that, after the key was released, the jack fell back to its place, while a damper came against the string, preventing its further vibration. Since these strings could not be used as bridges, like the tangents of the Clavichord, it was necessary from the first that each key should have a separate string. Moreover, as these strings were thus made of varying lengths and thicknesses, the Harpsichords were more often made in a triangular shape, or one like our modern grand pianos, than in the rectangular Clavichord shape. The chief defect, and the one which makers tried in vain to remedy, lay in the fact that the _plucking_ of the strings, while producing greater brilliancy, _admitted_ of _no variation_ in its degrees of _loudness_ or _softness_. =Virginal and Spinet=.—Several small instruments of this kind preceded its full development, differing mainly in shape and choice of materials. In England these received the name of Virginal; in France, that of Spinet. Both of these were introduced into polite society, chiefly as small house instruments of limited compass, varied sizes, and frequently with elaborate decoration. The difference between them was principally one of shape, the Virginal taking the oblong form of the Clavichord, while the Spinet was more often triangular. They appeared both with and without supports; and in some cases the strings were placed in a vertical position, as in our upright pianofortes. [Illustration: THE VIRGINAL OR SPINET.]