See also:

• SPINET, or SPINNET (Fr. espinetle or epinette; Ger. Spinett; Ital. spinetta)

SPINET, or SPINNET (Fr. espinetle or epinette; Ger. Spinett; Ital. spinetta)  , names given in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England to all small See also:

• KEYBOARD, or MANUAL (Fr. clavier; Ger. Klaviatur; Ital. tastatura)

keyboard See also:

• INSTRUMENTS

instruments irrespective of shape, having one See also:

• STRING

string to a See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note, plucked by means of a See also:

• QUILL

quill or plectrum of See also:

• LEATHER (a word which appears in all Teutonic languages; cf. Ger. Leder, Dutch leer or leder, Swed. leder, and in such Celtic forms as Welsh llader)
• LEATHER, ARTIFICIAL

leather . The earliest name recorded for this See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument is clavicymbalum, which occurs in the rules of the See also:

• MINNESINGERS (Ger. Minnesinger from Minne, love)

Minnesingers (1404), and also in the I4'underbuch (1440), a MS. preserved in the See also:

• GRAND

grand-ducal library at See also:

• WEIMAR

Weimar . This is enriched with See also:

• PEN (Lat. penna, a feather, pen)

pen and See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink sketches, amongst which is a See also:

• SERIES (a Latin word from serere, to join)

series of musical instruments comprising a clavicymbalum, not represented as the rectangular instrument figured by Virdung and Luscinius, but See also:

• HARP (Fr. harpe; Ger. Harfe; Ital. arpa)

harp- or wing-shaped like the larger and more perfect instrument afterwards known as See also:

• HARPSICHORD, HARPSICON, DOUBLE VIRGINALS (Fr. clavecin; Ger. Clavicymbel, Kiel-Flugel; Ital. arpicordo, cembalo, davicembalo, gravecembalo; Dutch, davisinbal)

harpsichord in England (See also:

• CLAVECIN

clavecin, clavicymbel) . In See also:

• ITALY
• ITALY (Italia)

Italy the usual See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model of See also:

• SPINET, or SPINNET (Fr. espinetle or epinette; Ger. Spinett; Ital. spinetta)

spinet was pentagonal or heptagonal, and was generally enclosed in an See also:

• OUTER

outer See also:

• CASE
• CASE, JOHN (d. 1600)

case, from which it was taken for performance . Some of the See also:

• OLDEST

oldest rectangular specimens merely contain a pentagonal spinet, the corners not being filled in . In the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century the rectangular spinets were modelled in Italy on the See also:

• CASSONE

cassone or See also:

• WEDDING

wedding coffers, and the keyboard, until the See also:

• MIDDLE

middle of that century, stood out from the case, Rosso of See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan being the first to See also:

• RECESS (Lat. recessus, a going back, withdrawal, from recedere, to withdraw)

recess it . Both forms were in use in England until the Restoration, when the transverse or wing See also:

• FORM (Lat. forma)

form became popular in England, Haward, See also:

• STEPHEN
• STEPHEN (1097?-1154)
• STEPHEN (ISTVAN) BATHORY (1533-1586)
• STEPHEN, SIR JAMES (1789-1859)
• STEPHEN, SIR JAMES FITZJAMES, BART
• STEPHEN, SIR LESLIE (1832-1904)

Stephen See also:

• KEENE
• KEENE, CHARLES SAMUEL (1823–1891)
• KEENE, LAURA (c. 1820-1873)

Keene and See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• HITCHCOCK
• HITCHCOCK, GEORGE (1850-- )
• HITCHCOCK, ROSWELL DWIGHT (1817–1887)

Hitchcock being the most celebrated See also:

• ENGLISH

English makers' at the end of the 17th and beginning of the 18th century . The mechanism of all spinets, virginals and ' harpsichords is the same in principle, the See also:

• PRINCIPAL

principal variation being in the number of strings to each note and the manner in which they ' See A . J, Hipkins, The See also:

• HISTORY

History of the See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

Pianoforte, pp . 71-73 (See also:

• LONDON

London, 1896) . are disposed over the soundboard . In the spinets they run parallel or at an obtuse See also:

• ANGLE (from the Lat. angulus, a corner, a diminutive, of which the primitive form, angus, does not occur in Latin; cognate are the Lat. angere, to compress into a bend or to strangle, and the Gr. ayKOS, a bend; both connected with the Aryan root ank-, to

angle to the keyboard .

The See also:

• JACK

jack rests on the back of the See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key-See also:

• LEVER (through O. Fr. leveour, levere, mod. levier, from Lat. levare, to lift, raise)
• LEVER, CHARLES JAMES (1806-1872)

lever, and See also:

• WORKS

works through a rectangular hole cut through the soundboard as the key is depressed . The quill or plectrum is embedded in a pivoted See also:

• TONGUE (O. Eng. lunge)

tongue near the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top of the jack in such a manner that when the tongue is at See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest the quill protrudes at right angles just under the string . As the jack rises the quill catches the string and twangs it, causing the tongue, kept in See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place by a bristle See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring, to fall back and thus avoid the string on the return of the jack . A little piece of See also:

• CLOTH

cloth acting as a damper and attached to the jack rests on the string whenever the key returns to its normal position . For the history of the spinet, see PIANOFORTE . (K .