This publication presents the second part of the Russian translation of the renowned treatise Les Principes du Clavecin (“Principles of the Harpsichord”) by de Saint Lambert (Paris, 1702). The final seventeen chapters of this work address a number of important topics in harpsichord pedagogy: signs of repetition and accidentals, hand positioning, and fingering principles. However, the main focus of the concluding section is the interpretation of ornaments—a subject of crucial importance both for the Baroque practice and for modern performers striving for stylistic authenticity. The significance of Saint Lambert’s treatise lies in the fact that, by summarizing the guidance of his predecessors (d’Anglebert, Chambonnières, Nivers, and Lebègue), he presented a comprehensive doctrine of ornamentation in a manner exemplary of the French harpsichord tradition. In this regard, as well as in several others, Les Principes du Clavecin stands alongside François Couperin’s L’Art de toucher le clavecin (“The Art of Playing the Harpsichord”), whose material is extensively referenced in the translators’ commentary.