The Boehm flute was not universally accepted, primarily because its sonority offended the sensitive ears of those accustomed to the wooden, conical-bore flute, with its more intimate sound, considered the true voice of the flute. So much so that the Boehm flute was spoken of as a new wind instrument, with no evolutionary connection to the Baroque flute. However, its more powerful sound, more precise intonation, and greater ease of playing in all keys ultimately established its supremacy, which, however, was never, and still is not, complete. Another major obstacle for flutists was the change in fingering: after spending decades studying alternative positions, they felt unable to start over with every trill, every intonation, and in fact the old-system flute, now back in fashion thanks to the beautiful performances of Anne Pustlauk, has survived to this day. The Rampone and Orsi companies had it in their catalogs until the late 1970s. The flute I present was born from the ideas of Giulio Briccialdi, perhaps the greatest Italian virtuoso of the 19th century, with the aim of preserving the old system fingering as much as possible. Made in 1882 by Emilio Piana of Florence, it represents one of the possible variations on the Boehm flute, retaining the cylindrical bore with a traditional fingering. The example offered, in excellent condition, is a valuable piece for any collection or museum.