One of the most inspired compositions ever written for the clavichord is the "Fantasia Cromatica e Fuga," by Johann Sebastian Bach. The figuration, the manner of slurring, the arpeggios, and much more in this piece, are extremely characteristic of the instrument. For a performance intended to reproduce, as far as may be possible, the original reading, the piece should be first studied upon a clavichord, not a pianoforte. The gentle influence of the instrument soon makes itself felt, and both player and listener seem to breathe another and a purer atmosphere. But such a performance demands concentration and those quiet surroundings the old composers enjoyed. I'm never merry when I hear sweet music; The reason is your spirits are attentive. SHAKSPEARE. Music, which gentlier on the spirit lies, Than tired eyelids upon tired eyes. TENNYSON. [Illustration: XXXIII] PLATE XXXIII. THE EMPRESS HARPSICHORD. Represents a Harpsichord of the largest size, the culmination of an instrument that had remained in use for nearly three hundred years, but, at the time this one was made, was about to be replaced by the pianoforte. This fine Harpsichord bears the joint names of Shudi and Broadwood, and was made at the house now known as No. 33 Great Pulteney Street, London, where the pianoforte business of Messrs. John Broadwood and Sons is still carried on. The instrument is numbered 691, and the books of the original firm show that it was made for the Empress Maria Theresa, and shipped on the 20th of August 1773, which happened to be the day after Shudi died. But he had for some time retired from harpsichord-making, and this instrument is really to be attributed to his son-in-law, John Broadwood. Burkhard Tschudi, or Shudi as he wrote his name in England, was of a noble Swiss family. He had established his business as a harpsichord-maker, in Great Pulteney Street, about 1732. Through Handel's friendship he became patronised by Frederick, Prince of Wales, father of George III., and was permitted to use the sign of "The Plume of Feathers" for his house. He was honoured with a commission from Maria Theresa's old enemy, Frederick the Great, to make two harpsichords for the "Neues Palais" at Potsdam, where they are still to be seen. One of them is described, with Silbermann's Forte Piano, in Dr. Burney's famous tour. Some years previously, Shudi had made a harpsichord and presented it to Frederick on the occasion of his victory at Prague, but the present writer could not find the instrument when he made a special visit to Berlin and Potsdam, in 1881. It may be said of Shudi and Jacob Kirkman, once fellow-apprentices, and afterwards competitors, that they left the harpsichord a more powerful instrument, and more varied in effect, by means of stops and registers, than it had ever been before.