Patrizio Barbieri (2007), in his turn, raised objection that this usage is not supported by early theoretical works. As for historical evidence, confusion has often reigned over the terminology of split-keyed instruments, which were called sometimes 'chromatic', sometimes 'enharmonic'. The builders (or persons who only projected the construction) of such keyboard instruments often gave them names without any reference to genus, like 'archicembalo' (Nicola Vicentino), 'cembalo pentarmonico' (Giovanni Battista Doni), 'Clavicymbalum universale' (Michael Praetorius) or even simply 'Clauocembalo' (that is clavicembalo; Gioseffo Zarlino).