The _claviorganum_, or organ-harpsichord, consists of an organ and a harpsichord (or a spinet) combined. Either can be played separately or with the other together. The separation and the union are effected by means of a stop or a pedal. The claviorganum was, some centuries ago, not uncommon. It enables the performer to sustain the sound at pleasure, which on the harpsichord is as little possible as on the pianoforte. A _claviorganum_ from Ightham Mote, near Sevenoaks, illustrated in Fig. 68, affords evidence of a higher antiquity of instruments of this kind than might perhaps be expected. It bears the inscription, _Lodowicus Theewes me fecit_, 1579. There is scarcely more remaining of this interesting relic than the outer case; but this is so elaborately finished that, if the mechanism was constructed with equal care and success, it must have been a superior instrument. The maker is unknown in musical history. Perhaps he belonged to the family of Treu (also written Trew), musicians of repute in Anspach about the year 1600. [Illustration: FIG. 67.――CLAVECIN. Made by Pascal Taskin of Paris. French. Dated 1786. H. 32¾ in., W. of keyboard, 30 in., L. 72 in. No. 1121-’69. Victoria and Albert Museum.] [Illustration: FIG. 68.――ORGAN-HARPSICHORD OR CLAVIORGANUM. Formerly in the chapel of Ightham Mote, near Sevenoaks, Kent. Probably English. Harpsichord, H. 9 in., L. 84 in., W. 35½ in. Organ case, H. 41 in., L. 91 in., W. 40 in. No. 125 125ᵃ-’90. Victoria and Albert Museum.] [Illustration: FIG. 69.――TRIPLE FLAGEOLET. Italian. About 1820. L. 20½ in. No. 295-’82. Victoria and Albert Museum.] [Illustration: FIG. 70.――FLAUTO DOLCE OR FLUTE. Ivory. Inscribed “Anciuti a Milan, 1740." L. 18½ in. No. 7469-’61. Victoria and Albert Museum.] The pianoforte, which now has entirely superseded the harpsichord, was first constructed at the beginning of the eighteenth century, in Italy and Germany. About the year 1767 it was from Germany introduced into England; but the English musicians for a considerable period objected to it, and preferred to retain the harpsichord. That there was, in the time of Shakespeare, a species of flageolet, called _recorder_, is undoubtedly known to most readers from the stage direction in Hamlet: _Re-enter players with recorders_. The recorder is also mentioned by Milton, and described by Bacon, who states that “the figures of recorders, flutes and pipes are straight; but the recorder hath a less bore, and a greater above and below.” An illustration of this old instrument, which has now become very scarce, is given in “The Genteel Companion; Being exact Directions for the Recorder: etc.” London, 1683.