During the four decades since the publication of Frank Hubbard's classic "Three Centuries of Harpsichord Making" (1965), with its masterly survey of the Italian, Flemish, French, German, and English schools, most further research has been directed toward the European continent. This volume of "The Historical Harpsichord" is intended to redress that imbalance. With close attention to technical detail, Darryl Martin examines the extant English harpsichords produced in the critical period of transition between the earlier seventeenth century, best known for virginal making, and the Georgian era in which harpsichord making was dominated by the London firms of Shudi and Kirckman. Jenny Nex and Lance Whitehead describe and place into context the oeuvre of Saxon-born Ferdinand Weber (1715-1784), one of the few Georgian makers who could stand on his own, albeit at some remove from London, in Dublin.