this is a good general overview, but not completely accurate. in the interest of students present in the forum, i am a little more comfortable with Lee's reference to an extremely limited dynamic range rather than none at all. in function, it is not very perceptible, but it is significant to the player in terms of articulation.
reference to the stopwork is solid with the caveat that 16' stops likely appear more frequently in the manuals given the relative obscurity of pedal instruments. 2' stops also appear rarely.
historically, the flemish school of builders reached its zenith in the 17th century as flanders was already being annexed by the 18th, when the french builders gained prominence. not sure what the reference to replicas meant as many instruments from these periods survive, notably hans rucker's whose workmanship is regarded on par with stradivari's violins around the same time.
while the sound of paired eights in a flemish instrument is indeed magical, it seems important to note that it would not be appropriate to all the literature, so sampling of different instruments in the french and italian styles seems as important an inclusion as an english virginal, not to mention having the availablity of a single 8' stop for continuo work if the performer wanted to thin the texture (although i didn't read your post as advocating sampling only one stop combination).