It is probably useful to differentiate for various traditions. 


For the German tradition the following is valid according to my knowledge of the sources: 

> Am 04.12.2016 um 19:04 schrieb J. Claudio Di Veroli <[log in to unmask]>:
> 
>> I wrote: FOUR alternatives that ARE historically documented ...
> 1) Play the wolves (if the "non-existent" accidental is either very short or
> has a shake).

1) It was not aesthetically preferred, but served only as an emergency.
 
In soloistic organ playing this was no real problem since organists improvised. 

Problems arose from the interaction of organ and ensemble and the necessity to transpose. In that case leaving out a foul-sounding note is the better choice, since some instrument or singer will have the note in question anyway. 

> 2) Use an enharmonic keyboard (as just discussed by Ibo).

2) Preferred, if available. 
Much more frequently, though, non-enharmonic instruments, which were probably much more common then, than we still know. With an additional a-flat and d-sharp one could get far. 

> 3) Use an early form of French temperament, spreading the wolf fifth among
> nearby fifths.

3) I am not aware of an example from Germany for the 17th century until quite late.


> 4) Use Equal Temperament. Although its use on keyboards during the 17th c.
> was short-lived, it was occasionally used in Rome and also elsewhere.. 

4) Not known from Germany, where ET however was the temperament that increasingly was preferred in theoretical(!) writings since Neidhardt (and that development again has to do with ensemble music and the need to transpose).



For Rome, see my previous post.


Kind regards

Ibo
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