Clavicytherium

[4] Describing the unusually fine clavicytheria of Delin (see below), Kottick observes "the action feels quite good to the fingers, which is not a statement one can always make about a clavicytherium.

"[6] Indeed, the modern builder William Horn suggests that it is this esthetic end, not space-saving, that is the primary justification for making clavicytheria.

[7] In shape, clavicytheria were normally like ordinary harpsichords, with the left side longer than the right to accommodate the long bass strings.

Kottick observes that the RCM instrument closely resembles another (unpreserved) clavicytherium found as a diagram in the work of Henri Arnaut de Zwolle.

[13] Ripin describes its "unique and simple action" thus: "the key, a vertical lever and the forward-projecting jack are all assembled into a single rigid piece.

[17] They are also mentioned in the Syntagma Musicum (1614-1620) of Michael Praetorius, the Harmonie universelle (1637) of Marin Mersenne, and in the French Encyclopédie méthodique.

His three instruments, which are considered by many to be the finest of all surviving clavicytheria, have an amazingly fine touch that is achieved by a special action that upon the release of the keys allows the jacks to return without the need of springs or additional weights.

"[21] The city of Dublin also apparently enjoyed a vogue in the 18th century for clavicytheria, and quality instruments were made by a number of builders.

[24] In other languages the instrument is called clavecin vertical (French), Klaviziterium (German), cembalo verticale (Italian).