The clavichord always remained square or oblong in shape, and for many years had no legs of its own, but was set upon a table like a box--hence one of its old names, _Schachbrett_, chess-board. The case was often of beautiful wood, sometimes inlaid and adorned with scrolls, and the under side of the cover was often painted with allegorical pictures and pious or sententious mottoes. The keys were small, the touch extremely light. The tone, though faint, had a genuine sweetness and an unusual warmth; and, by a trembling up and down movement of the wrist while the finger still pressed the key, the skilled player could give to it a palpitating quality, allied to the vibrato of the human voice or the violin, which went by the name of _Bebung_. This lifelike pulsing of tone was its most precious peculiarity, one which unhappily is lacking to the pianoforte, in most ways immeasurably superior. Hardly less prized by players who esteemed fineness of expression above clearness and brilliance, was the responsiveness of its tone to delicate gradations of touch. This made possible fine shading and intimate nuances. On this account it was highly valued, especially in Germany, as a practice instrument, upon which the student could cultivate a discriminating sensitive touch, and by which his ear could be trained to refinement of perception. The tone of the clavichord was extremely delicate. Its subtle carrying quality could not secure it a place in the rising orchestras, nor in the concert hall. It belonged in the study, or by the fireside, and in such intimate places was enshrined and beloved by those who had ears for the finer whisperings of music. But not at once was it so beloved in the course of the early development of our instrumental music. Frail and restricted, it was but a makeshift to bring within the circle of the family the growing music of its powerful overshadowing prototype--the organ. The harpsichord was quite different and shared with its weaker sister only the keyboard and the wire strings. It was in essence a harp or a psalter played by means of a keyboard. The strings were tuned as in a harp and were plucked by means of quills attached to the key-levers. The tone was sharp and dry and could not be influenced by the player’s touch. Instruments of this nature seem first to have been made in England. At any rate it was in England that a considerable literature was first written for them. The English virginals are small harpsichords. The origin of the quaint name is no longer carried back to the love of the Virgin Queen Elizabeth for such music as the instrument could produce. Nor is it likely that it was so named on account of its size (it could be held on the lap), whereby it recommended itself to the convenience of young ladies with a musical turn. Most likely its name is due to its range, which was the high range of a young woman’s voice, an octave higher than the centre octave of the organ.