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. [Illustration: 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.] [Illustration: Figure 6.--SOUNDBOARD LAYOUT OF POLYGONAL VIRGINAL. Scale, 1:8.] [Illustration: Figure 7.--RIDOLFI HARPSICHORD REMOVED FROM CASE.] [Illustration: Figure 8.--CROSS SECTION OF RIDOLFI HARPSICHORD. A, bottom; B, knee; C, lining; D, soundboard. Scale, 1:2.] The Typical Italian Harpsichord The instrument chosen to illustrate the stylistic features of the Italian harpsichord is also in the collection of the U.S. National Museum. This harpsichord, purchased for the Museum in 1892 by Dr. G. Brown Goode, was made in 1665 by Giacomo Ridolfi, who claimed Girolamo Zenti as his teacher. The inscription on the nameboard reads "Jacobus Rodolphus Hieronymi de Zentis Discipulus MDCLXV Facieba." Like the virginal described above, this harpsichord is separable from its outer case. The outer case rests on a separate stand consisting of three gilt cupids and a floral garland. Since the painted decoration of this case is not original, another outer case, belonging to a harpsichord made by Horatius Albana in 1633, was selected for the illustration (fig. 1). Two unison strings per key and two registers of jacks are provided. The apparent compass of the keyboard is from _C/E_ to _c'''_. The remains of pedal connections can be seen on the lowest eight keys.