I humbly disagree with Mark in this point. 

About Paris, I’d not be sure: 
Marin Mersenne (1588-1648) would be a key(!) figure. And since non-existence can’t be proven, it can't be ruled out that the one or other enharmonic keyboard floated around in educated circles – or, for that matter, that Froberger could have brought such an instrument.  
On the other hand: Froberger stayed in Paris from Sept 1652 to April 1653, not years. Couldn’t he have "survived" half a year in Paris without access to an enharmonic keyboard?


And the idea of equal temperament (ET) for Froberger rests also on the anecdote around the latter's teacher Frescobaldi.
That is the anecdote provide by Doni, who wrote about it in a letter to Mersenne: According to Doni a ragged old man from Sicily convinced Frescobaldi with wine to use ET. 
Doni’s the only source to my knowledge,  but he also states that the musicians in Rome (among them Frescobaldi) realised the "imperfection of that tuning" and that singers didn’t like to sing to it, "one abandoned it".
Even, if Frescobaldi tried it for a short time, there is no reason to assume that ET was favoured for rendering any of his compositions. 
The story is commented in extenso in the section "Ne’ semituoni eguali, ne’ quali ereticamente sta fisso – die gleichschwebende Temperatur in Rom", by Martin Kirnbauer in  Vieltönige Musik: Spielarten chromatischer und enharmonischer Musik in Rom. Basel: Schwabe, 2013 ( p. 137-142)

Kind regards
Ibo


> Am 04.12.2016 um 17:11 schrieb J. Claudio Di Veroli <[log in to unmask]>:
> 
> 
> Thanks Ibo. So far so good in Vienna, but not in Paris.
> I found now that Lindley is the scholar suggesting that Froberger meant some
> works for ET: and he has a point in the years that Froberger, after studying
> with Frescobaldi in Rome (including ET) spent in Paris, where they did not
> use enharmonic keyboards.
> 
> Best
> 
> CDV
> 


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