In 25 years of activity we have restored numerous original instruments that were built in Europe anywhere from the 16th to the 17th century. We have always adopted a primary rule of conserving the double aspect of the instruments; both the historic and the aesthetic sense. Therefore each intervention is preceded by the most thorough possible gathering of historic information and in depth scientific analysis of the instrument.

Our method entails an initial detailed project of restoration that when agreed upon with the client, continues with a survey of the geometric data and of the essenze that constitute each part of the instrument. Specific x-ray and photographic analysis are used, each time it is deemed necessary, to fully understand the various conditions. Another important criteria that we use is what we call reversibility. In other words, we work in a way that allows us, at any time in the present or future, to return the instrument to the condition it was in prior to out intervention. There fore we are careful to follow our work with a scrupulous and complete photographic documentation, in such a way as to have reference of the before and the after. At completion an in depth report on the initial state of the instrument and the various phases of restoration will be drawn up.

A few of the most important antique instruments that we have restored are those built by:
Nicolao de Quoco, an Italian harpsichord; the Florentine Antonio Migliai; an anonymous builder of the 16th Century; Mattia di Gand from the Flanders, who was working in Italy (Rome 1702, the first instrument known of by this builder); Giovanni Ferrini, student of Bartolomeo Cristofori, a spinettone traverso; Pascal Taskin from France, a harpsichord keyboard of the City of Milan; the ÒRuckersÓ at the Naples Conservatory; and from the 17th Century, a spinetta ottavino (spinet piccolo) at the Accademy of Santa Cecilia in Rome.