The harpsichord, of excellent workmanship and only partially compromised by the interventions carried out in the following centuries, is a precious testimony of the Venetian production of the late sixteenth century. The signature of the alleged Venetian builder, Vito Trasuntino, does not seem to be authentic, both for the style and because it is affixed to the inlay of the crossbar, a non-original piece. The instrument is kept in a counter-case covered with engraved leather and painted with scrolls of tendrils, in gold and black on a red background.

Made by the German luthier Giorgio Iungman, active in Genoa in the first half of the seventeenth century, the chitarrone has partly lost its original appearance due to the changes made in the following centuries: the neck has been considerably shortened and narrowed, the peg and the bridge have been replaced. Instead, the magnificent shell made up of twenty-three thin staves and the soundboard with three skilfully perforated rosettes are original.

Built by the renowned wind instrument maker Giovanni Maria Anciuti (1674-1744), the oboe is of the highest quality due to the preciousness of the materials and the technical expertise with which it was made. It also presents, early on, a solution that became established only after the mid-eighteenth century: the provision of a spare upper piece to change the intonation of the instrument.

The work of Ioannes Ruckers, a member of a famous Flemish family of harpsichords, the double virginal belongs to the type called Moeder met het kind (mother-son): a larger instrument contains a smaller, removable one, which, having the long strings half that of the "mother" instrument, it sounds an octave higher. The two virginals could be played by two performers at the same time or the small one could be superimposed on the "mother" instrument and the keyboard of the latter operated the jumpers of both instruments at the same time. The surfaces are decorated with printed papers while the lid is painted with a scene illustrating the leisure activities of the Flemish high society from deer hunting to boat trips, to the leisure of the arts and reading: under a berceau a dama plays a virginal on whose lid is in turn painted a musical scene.

This viola is a very rare example of a seventeenth-century instrument. In fact, with the exception of the varnish, it has not undergone the transformations and modernizations that bowed instruments often underwent since the end of the 18th century, to adapt them to the new musical needs. The singularity of the viola, built by the well-known Milanese luthier Giovanni Grancino, is accentuated by the unusual profile and the decoration of the fingerboard and tailpiece made of ebony, mother-of-pearl and tortoiseshell, under which there is a thin gold sheet that gives a particular brightness to the inlay.

Born as a baroque guitar, the instrument was modified, in an unspecified period, into a battente guitar. The neck was then shortened, the complex and refined decoration of which was interrupted, the soundbox was bent in the bridge area and the strings were hooked to the lower block.