Careful measurements taken during the restoration of this harpsichord were used for these patterns which faithfully show the construction practices of the late Flemish school. A plan view of the entire instrument is shown as well as a cross section and perspective of the action, details of the stand and keyboard templates, useful to both the scholar and the builders of new instruments for reference and comparative studies. The restored instrument has a full robust tone typical of 18th century large harpsichords (contrary to Dr. Burney who wrote: “At present there is a good workman at Antwerp, of the name of Bull, who was Dulcken’s apprentice, and who sells his double harpsichords for a hundred ducats each, with only plain painted cases, and without swell or pedals; the work, too, of Van den Elsche, a Flamand, has a considerable share of merit; but in general, the present harpsichords, made here after the Rucker model, are thin, feeble in tone, and much inferior to those of our best makers in England.”) Such a comparison may have a basis in that because of an adverse choice of key balance in Flemish actions, the touch becomes heavy when strongly quilled.