operate the following registers: lute, octave (4′), buff (muting the second unison by pressing soft leather pads against the strings), first unison (8′), and second unison (8′). The lute stop plays from the upper manual, the first unison from both manuals, and the remaining stops from the lower manual.

Figures 25 and 26 show the instrument before restoration. The name batten on which the date of 1747 appears is not original to the instrument. The date of the instrument is based on the serial number 144 stamped on the lower keyboard. From all records it appears Shudi would have built an instrument with that serial number in 1743.

25. Shudi harpsichord: View of keyboards.

26. Shudi harpsichord: Plan view.

27. Shudi harpsichord: Full view.

French Harpsichords

Although Paris claimed many harpsichord builders, few French harpsichords remain today. Many were destroyed at the time of the Revolution and later when firewood was needed to heat Conservatoire classrooms.

French builders, the most famous among them the Blanchet family and Pascal Taskin, spent much of their time reconstructing Ruckers harpsichords to satisfy the musical and decorative tastes of 18th-century France. Included in this reconstruction or ravalement were the extension of compass (usually from C-c³ to FF-f³), enlargement of the case and soundboard, and often replacement of keyboards, jacks, and registers.

Housed in elegantly painted cases supported by cabriole or fluted legs, typical French harpsichords had two manuals and were praised for their lightness of touch. Later 18th-century developments included a fourth register called peau de buffle (plectra of soft chamois-type leather) and knee levers to operate the registers.

Harpsichord, 1760; made by Benoist Stehlin, Paris Two manuals; Range FF-f³; 2×8′, 1×4′, buff, shove coupler

In recent years the Smithsonian was fortunate to acquire one of the few remaining French harpsichords. The builder’s name is known from the design on the soundboard rose which includes the initials “B” and “S”; also, the name “Benoist Stehlin” is inscribed on two of the jacks. The 1760 date is painted on the left side of the soundboard. An inventory of Stehlin’s workshop and house made at the time of his death in 1774 lists a Ruckers harpsichord altered by Stehlin along with several other instruments in various stages of completion. Figures 28 and 30 show the instrument before its restoration.

28. Stehlin harpsichord: Full view.

This instrument was restored to playing condition in the conservation laboratory of the Division of Musical Instruments in 1968. Typical of most French instruments, it is equipped with a shove coupler, which enables the player to operate