The instrument originally had a range of C/E to f’ (50 notes), which was transposed in the 18th century to C to d’ by moving the treble keys to the bass thus shortening the apparent string scale by a minor third. Traces of brass strings were analyzed at the museum and found to be 18th century composition. The plans show the original range, since it is more appropriate to the scale of pitch c=10”. The soundboard is rare for the Italian school for being made from quartered cypress and painted. The nut is a second soundboard of slab cypress. There are two 8’ registers and no hand stops. Aside from the transposition, the instrument was in original condition and un-restored when the plans were made.

While the name board has only recently been lost, the signature is said to have been that of Ioannes de Perticis, Florence, 1681. Boalch states, “Johannes de Perticis of Florence, son of Piero de Pertici, ‘harpsichord and virginal maker’. Earliest and latest dates known 1665-1690. His grandfather’s name was Bartolomeo. Puliti lists him as ‘bonnaccordai’ 1665.” There was a Florentine opera singer and actor, Pietro Pertici, 1731-after 1760.The name was used by the notorious 19th century faker Leopoldo Franciolini who lists 2 or 3 instruments dated 1672 in his catalogs (R. Russell). Comparison indicates no resemblance to the 1672 instrument in the Gemeente Museum in the Hague. The 1681 instrument could represent a new date for this maker or a misreading of the 1680 instrument mentioned by Boalch (who also shows 1672-H (supra), 1683-H, and 1684-polV).

The outer case is elaborately painted on gesso and closely resembles an instrument in the Germanisches National Museum (MINe 79 according to Germann). These cases are much newer than the instrument inside, possibly 18th century work. Perspective views of the outer case are included.