Typical of northern European instruments, the Dulcken harpsichord has a heavy case, two keyboards or manuals, and two 8′ choirs and one 4′ choir. It also has a lute stop, whose jacks, very close to the nut, pluck one set of unison strings to produce a pungent, nasal tone. [Illustration: 6. Dulcken harpsichord: Full view. _Photo: Robert Lautman_.] [Illustration: 7. Front view. _Photo: Robert Lautman_.] [Illustration: 8. Dulcken harpsichord: Plan view.] [Illustration: 9. Dulcken harpsichord: Detail of keyboards. _Photo: Robert Lautman_] [Illustration: 10. Dulcken harpsichord: Detail of soundboard. _Photo: Robert Lautman_] _Italian Harpsichords_ Typical Italian harpsichords had two choirs of unison strings and two jacks for each key. They were of much lighter construction than those made in northern Europe—the sides of the case were only about an eighth of an inch thick. These fragile instruments were usually placed in heavier, often elaborately decorated, outer cases from which the harpsichord could be removed. Harpsichord, _1693; maker unknown, Italy One manual; Range GG-c³ (no GG♯); 2×8′_ The typical construction of Italian harpsichords can be seen in this large Italian instrument. The original nameboard is missing; however, as was common practice, the maker marked the date on the tail of the lowest and highest keys. The Italian harpsichord serves as an ideal _basso continuo_ keyboard instrument because it blends well in instrumental combinations. Its clean, crisp sound also allows individual lines to emerge clearly from a polyphonic musical texture. [Illustration: 11. Italian harpsichord (1693): Full view of instrument in outer case.] [Illustration: 12. Italian harpsichord (1693): Plan view.] [Illustration: 13. Detail of keyboard. _Photo: Robert Lautman_.] Harpsichord, _1694; made by Nicolaus DeQuoco, Italy One-manual: Range C-c³ (no C♯); 2×8′, 1×4′_ This instrument is one of the few examples of an Italian harpsichord with a third set of strings tuned an octave higher than the two unison choirs. It is possible that the third set was added to this instrument sometime after it was constructed with two unison registers. Figure 15 shows the instrument before restoration; Figures 14 and 16 show the restored harpsichord removed from its heavy outer case and details of the handsome keyboard and moldings typical of Italian instruments. [Illustration: 14. DeQuoco harpsichord: Plan view.] [Illustration: 15. DeQuoco harpsichord: Full view of instrument in outer case.] [Illustration: 16. DeQuoco harpsichord: View of instrument removed from outer case.] [Illustration: 17. DeQuoco harpsichord: Inscription on wrest plank.] [Illustration: 18. DeQuoco harpsichord: Detail of keyboard. _Photo: Robert Lautman_.] Virginal, _1617; made by Giovanni Battista Boni, Cortona One manual; Range C/E-f³; 1×8′_