An early authenticist was Arnold Dolmetsch, working early in the century in Surrey in England. Dolmetsch's efforts proved premature, as the first half of the century came to be dominated by modernist efforts. Such instruments, made for instance by the Pleyel firm of Paris, were heavily influenced by the modern grand piano, notably in using heavy metal frames, far sturdier than would be needed to support the tension of harpsichord strings. These instruments typically included a 16-foot stop to bolster their sound, following a (relatively unusual) practice of 18th-century German builders. Harpsichord scholar Edward Kottick has used the term "revival harpsichords" for this class of instrument, reserving the term "modern harpsichord" for the more historically authentic instruments that developed later.