William Dowd in his article, “The Surviving Instruments of the Blanchet Workshop” (Pendragon Press, 1984) says, “The tone quality of 1765 is powerful, rich and complex. It is of the same type of harpsichord sound as 1746 and Taskin’s 1769 and 1770.”

The range of the instrument is FF to f’”. The registration is 8’4’8’ with a buff stop for each 8’ register as well as a shove coupler for the “petite clavier” (upper 8’). The stops use hand levers and handles all behind the name board, on either side. The length is 91” (2311 mm), the width is 37” (940 mm), and the case depth is 11.38” (289 mm) to 10.31” (262 mm). The length of the cheek is 15.4” (692 mm), the width of the tail is 11.1” (283 mm), and the bottom stands 28.2” (716 mm) off the floor. The instrument is deliberately built in a curiously deformed manner, presumably in imitation of a Flemish instrument a ravelment. Of all old harpsichords I (R.K. Lee) have seen, this one has the most effective structure, and lacks most off the deformations that one finds in old harpsichords. The only structural problem observed is that the wrestplank moved to the tail a millimeter o two in 220 years.

The plans are in 1/4 scale in two plates 25” (635 mm) by   40” (1016 mm). The soundboard layout was drawn by the photogrammetric radial line method and has a decimeter grid for layout. All principal dimensions are given in mm. Action parts are shown with detailed dimensions. W.R. Dowd graciously made the instrument available for the measuring process.