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FRENCH UPRIGHT, 4 OCTAVES, WITH KNEE PEDALS (1770).

proper trial, Maffei proceeds: "Instead of jacks that produce sounds by quills, there is a little row of hammers that strike the string from below, the tops of which are covered with leather. Every hammer has the end inserted into a circular butt, that renders it movable; these butts are partially embedded and strung together in a receiver. Near the butt and under the stem of the hammer there is a projecting part or support that, receiving the blow from beneath, raises the hammer and causes it to strike the string with whatever degree of force is given by the hand of the performer; hence the sound produced can be greater or less at the pleasure of the player." The mechanism, which is then described, was ingenious, and the damping was effected by underdampers-that is, the dampers acted under the strings.

Although it is evident that Cristofali was really the inventor of the pianoforte at least as early as 1710, some of the other claimants deserve more than passing notice. In England the honor is claimed for Father Wood, an English monk at Rome, who manufactured a pianoforte in 1711, and sold it to Samuel Crisp, Esq., the author of Virginia," from whom it was purchased by Fulke Greville, Esq. This instrument being the first piano seen in England, produced an immense sensation amongst musicians, but it was defective in action, and rapid music could not be played

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upon it with good effect; when, however, such slow pieces as the Dead March in "Saul" were performed it was considered a marvel. Although the pianoforte had been gaining rapidly in public favor on the Continent, almost the only ones in England until the year 1760 were those made by Plenius, a harpsichordist manufacturer, who copied the crude instrument made by Father Wood, and with which he succeeded only poorly. But in 1760 twelve working pianoforte makers from Germany arrived in search of cmployment, and as they succeeded in thoroughly introducing the piano in England they were familiarly known by the nickname of the "Twelve Apostles."

The claimant advanced by the French is Marius, of whom Fétis, the great Belgian authority, says that he "submitted two instruments to the examination of the Académie de Sciences, in the month of February, 1716"; for in the "Recueil des Instruments et des Machines approuvés par l'Académie de Sciences" are found, under Nos. 172, 173 and 174, engraved plans of three instruments termed by Marius "clavecins à maillets," with a description of the mechanism, which was very simple and imperfect, being merely a piece of wood fastened into the end of each key, which raised a hammer covered with sheepskin over the striking part. In another action, however, he approached nearer the desired result.

Cristofali's invention was at least five years prior to Marius's, and is greatly superior; but, judging from the crudeness of the mechanism made by the latter, it is probable that he had never heard of nor seen any of Cristofali's pianos-which did not gain very great success-and therefore he, too, is an independent inventor.

The invention was also brought about, a little later, in Germany, by C. G. Schröter, through a series of circumstances. Pantaleon Hebenstreit, the violin virtuoso of Eisleben, while sojourning at a country inn, heard the old-fashioned dulcimer played by an uncultured musician for peasants to dance. He was so charmed with the dynamic qualities of that rude instrument, but above all with the production of its soft and loud qualities, that he determined to construct a similar instrument for the purpose of playing scientific music upon it. He quadrupled the dimensions, and had it made as a double dulcimer, or "Hackbrett" with two sound boards, each with its scale of strings, on one side overspun catgut, on the other, wire. This was in the latter part of the seventeenth century, and with this powerful chromatic instrument, demanding herculean force to play, Hebenstreit gave concerts all over Europe and created a tremendous furore, owing

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to the construction of the instrument and his Prussia, and, as this one met with universal apgreat skill in playing it.

In 1705 he played before Louis XIV. with such success that the king named the instrument "pantaleon." Kühnan, in Mattheson's "Critica Musica," December 8th, 1717, praises it and its superiority over the harpsichords in possessing the properties of piano and forte. Schröter, listening to Hebenstreit's wonderful performance, conceived the idea of attaching to the instrument a keyboard; and thus the piano was also invented in Germany.

Schröter was the son of an organist, and was born at Hohenstein, on the borders of Bohemia, on the 10th of August, 1699. "In 1717," he says, "I constructed at Dresden, after much consideration, the model of a new clavier, with hammers, upon which one could play loudly or softly." It was exhibited to the court at Dresden, and received the approval of the Elector of Saxony, but no reward was given to the inventor. He further narrates that when he wished to leave Dresden it was impossible for him to obtain possession of the two models he had submitted to the court in 1721. In one the hammers struck the strings from below, in the other from above: that both were supplied with dampers, and that the strings could be made to resound softly or loudly. The models met the approval of the elector, who ordered the construction of one struck by hammers from below, but the execution of the order was never completed. Without Schröter's knowledge and consent, as he says, his invention became known in Germany, and bad imitations thereof were made and called pianos. Godfrey Silbermann, of Strasburg, manufactured many pianos upon Schröter's system, and made him no payment for using his invention. After making two with great care he submitted them to Sebastian Bach for his approval; but this was not easily obtained, for, after trying and examining them carefully, Bach praised the mechanism, but complained of the tone, which he said was unequal and feeble, especially in the upper octaves. Agricola, the court composer of Berlin, says: "Mr. Silbermann had heard these complaints with ill grace, and had been angry with Mr. Bach for a long time. But his own conscience told him that Mr. Bach's criticisms were correct. He came to the conclusion, it must be said to his glory, not to make any more of these instruments, but to work hard to invent something to do away with the faults mentioned by Mr. Bach. On this he worked many years. Finally, after Mr. Silbermann had in fact made many improvements, he sold another instrument to the court in Rudolstadt, and shortly afterward one to the King of

proval, many more. He even had the praiseworthy ambition to exhibit one of these instruments of his later construction to the chapelmaster, Mr. Bach, and to have him examine the same, and receive from him his utmost approval." According to this report of Agricola, who knew Silbermann personally, there remains no doubt that we are indebted to the industrious Silbermann for the practical construction and introduction of the piano. tion of the piano. Another imitator of Schröter, Johann Andreas Stein, of Augsburg, whose daughter was, in 1794, married to Streicher, of Vienna, was a pupil of Silbermann's, and was decidedly successful as a piano manufacturer. His inventive talent was displayed in the instruments he made, which by 1790 were adopted as models both in North and South Germany, as the two grand pianos formerly belonging to Queen Louisa

made by Huhn, organ builder at Berlin, and preserved in memory of him at Potsdam-unmistakably attest. Both closely resemble Mozart's grand piano by Anton Walter, of Salzburg, and the original model by Stein of 1780.

Mozart first became acquainted with the Stein pianos while in Augsburg, October 1777, and was very much pleased with them, selecting them for his performances in place of those made by Spaett, of Dresden. This brought the Stein pianos into public favor.

In a letter to his father, Mozart says: "Stein warrants the solidity of his sounding boards. When he has completed a board he exposes it to the air, rain, sun and snow-in a word, to every

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Thayer has unearthed a record of Pastor Tunker, showing that Beethoven, as early as 1791, when residing at Bonn, always used a Stein instrument. The name of the Streichers is closely connected with that of Beethoven, they having done much to aid him in his domestic arrangements, even looking after his bodily health. Thayer, in his work on Beethoven, says that upon his return to Vienna, after having been in Baden for his health, "the Streichers continued their friendly services, procured him two good servants, and otherwise looked after his interests. These servants remained with him for a year or two, and this was probably the most comfortable time of the last half of Beethoven's life." In one of his many letters to Mrs. Streicher he says: "Perhaps you do not know, though I have not always had one of your pianos, that since 1809 I have invariably preferred yours." The grand piano in the Steinert collection, known as the Beethoven piano, has the name of Streicher on the name board, but on the sounding board is the following inscription: "Nanette Streicher, née Stein, Wien, 1816." It is claimed, by those knowing its history, to have been made for Beethoven for his concerts, and that Mrs. Streicher kept it exclusively at the disposal of the great master whenever he wished to use it. Some of his finest works may have been created upon this old instrument, and to the true musician it must always remain an object of reverence. It is more pretentious in appearance than most of the early instruments, having decorative features, and being finished in a manner rarely excelled at the present time in the most expensive pianos. It has turned legs, somewhat ungraceful in design, but not as inelegant as many of the modern carvings at present in vogue. It probably had six pedals, similar to the piano now in Windsor Castle, but they have long been missing, and traces of them only remain.

atmosphere that it may split; then, by means of slips firmly glued in, he closes the crevices. When a sounding board has been thus prepared it may be regarded as safe against all accidents." He then praises Stein's pedals, which were pressed by the knees, and were a great improvement upon the harpsichord stops, which compelled the player to raise his hands from the keys in regulating them. In the end, however, Anton Walter became Mozart's favorite maker, although his pianos were merely copies of Stein's. The piano represented in the illustration is one of the Steinert collection, and is a fac-simile of Mozart's grand now in the Mozarteum at Salzburg, and is a reproduction of the Stein grand both in action and appearance. It is severely plain in outline and destitute of any ornamental features, but its very simplicity and stiffness add a sort of dignity and attractiveness to this old relic. It is suggestive of decorous and stately dames in elaborate ruffles, beplastered and be powdered, and gallant courtiers in wigs and silken knee breeches, listening with solemn attention, now sadly out of fashion, to the master's rendition of selections from the "Magic Flute" or "Don Giovanni." It has five octaves, black natural keys, white sharps and knee pedals. All of Johann Stein's children-Friedrich, Matthaus Andreas and Maria Anna, known as Nanette-became piano makers and players, but the daughter was really the most prominent of the group. She was born January 2d, 1769, at Augsburg. When barely eight years of age she played to Mozart, at the time of his visit to Augsburg in 1777, and in spite of the bad musical habits she had contracted he said of her: "She may do yet, for she has genius." Her talent and capacity were so obvious that her father early initiated her into the details of his business, and upon his death, February 29th, 1792, she carried it on, in conjunction with her brother Matthaus Andreas, with a decision and energy almost masculine. She was at once a thorough and capable business woman, a pianist of remarkable excellence, highly cultured, and a model wife and mother. Her husband, also, was a very fine pianist, and a teacher of some note, but his name did not appear in connection with the business for several years. The firm, as late as 1801, was "Geschwister Stein," subsequently "Nanette Stein" only, which appears as the maker's name on a grand piano with six pedals existing in Windsor Castle. It was in 1802 that the brother and sister dissolved partnership, each continuing in--they obtained means from their possessions in business, and both firms endeavoring to perfect their instruments in every possible way. Beethoven as well as Mozart always showed a preference for the pianos made by Stein and his daughter.

Another of the very interesting pianos belonging to the Steinert collection is one made by the elder Stein, which was brought to America in 1793-during the Reign of Terror. It belonged to the Countess de Vernoix, née De Broullier, who, after having lost father, brother and uncle by the guillotine, escaped with her mother to England, whither her young husband had preceded her through the aid of his devoted valet. For a short time the countess gave lessons upon this piano, until through the efforts of the valet and his sister-the faithful nurse of the countess

France to emigrate to Louisiana. Here they remained until 1804, when their estates were restored to them under Napoleon I., and they returned to France, leaving to the valet, Jules

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Clamier, the plantation and all its belongings, including the piano, as a reward for his faithfulness. Jules's daughter married a Mr. Demont, and removed with her husband to Indianapolis, where she died, leaving the piano to Miss H. M. Herder, of whom Mr. Steinert purchased it. It is a handsome instrument, made of mahogany, with a large panel of silk tapestry presenting a highly colored and wondrously drawn boating scene, set in the front, with rich decorative effect. It has four pedals, and by pressing one of them the player can exactly reproduce the mandolin's tones. If this pedal were added to the modern piano it would be a most agreeable variation at times. It has brass ornaments of lyreshaped design, and exhibits a skill in musical construction and wood working, and a solidity in build, that its years and viscissitudes have left but little impress upon.

There is another instrument in this collection called a "violin piano," which is remarkable as an example of many efforts to reproduce mechanically the action of string and bow instruments. It was built by Bandet, of Paris, early in the present century. The strings are of wire, one to each note, strung vertically, and attached to each are bristles which project about an inch. A roller of composition metal slightly "rosined" is made to revolve rapidly by means of a treadle. When the keys are pressed they rise, forcing the bristles by whalebone tangents against the roller, exciting the musical vibration. The result is a volume of sound that to the general ear is far more pleasing and satisfying than that of the pianoforte.

Such an instrument was constructed in Nurnberg in 1610, with catgut strings, and another was made in Gorlitz, in 1795, with a violin bow adjusted in a frame for each string. These were set in motion by a pedal. The Baudet instrument of course is a great improvement upon these older efforts, and it certainly succeeds in rendering in a melodious and natural manner the tones of an entire string orchestra.

Another handsome specimen of the skill of the early manufacturers, of this century, is the Babcock instrument, made in Boston in 1815. It is so thoroughly in the style now recognized as "Colonial" that it is a wonder it is not reproduced as a fitting adornment of the many houses. now being built in this style of architecture. has columnar legs, connected by massive but proportional base bars to which the pedals are attached. It has chaste, almost severe outlines, and is ornamented by slight straight lines of inlaid brass. There are three drawers in the body, which are, however, not apparent, having no

handles, but are opened from beneath. This is a fair sample of the work done by American builders a century ago, and which to-day ornaments secluded garrets in out-of-the-way places. As early as 1775 pianos were built on this continent by John Behrent, of Philadelphia, which was the centre of the trade until 1835, and at the beginning of the century Bordentown, N. J., was already known for the instruments made by J. S. McLean, to whom was issued the first patent pertaining to the craft, in 1796, shortly after the Patent Office was established.

In 1825 Babcock invented a cast-iron ring in the shape of a harp, for the purpose of increasing the power of resistance to the pull of the strings, which led to the making of the iron hitch-pin plate, together with that portion which supported the wrest plank, in one piece. The work of these early makers was solid, substantial, and distinguished by carefulness in construction. Between the years 1694 and 1879 some five hundred patents were issued in Europe and America for inventions of parts of pianos, and since 1879 there have been granted about one hundred and sixty in this country alone. To-day American builders stand at the head of the trade, and are continually contributing to the improvement and perfection of this instrument.

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Son, Fort Scott, Kan.

FOR LIFE AND LOVE. By Richard Henry Savage. Neely's Library of Choice Literature, No. 19. 448 pp. Paper, 50 cents. F. Tennyson Neely, Chicago. RHYMES BY TWO FRIENDS. By Albert Bigelow Paine and William Allen White. 228 pp. Cloth. M. L. Izor & FOR MY OWN SAKE. By Marie Bernhard. Translated by Mary Stuart Smith. Authors' Library. 258 pp. Paper, 50c. The International News Co., New York. CATALOGUE OF THE RUSSIAN SECTION, WORLD'S COLUMBIAN EXPOSITION, CHICAGO, 1893. 572 pp. Boards, illuminated. Published by the Imperial Russian Commission, Ministry of Finances, St. Petersburg.

OUR NEW SERIAL STORY.

THE opening chapters of a new serial story, entitled "The Silver Shafts," will be published in the next (March) number of FRANK LESLIE'S POPULAR MONTHLY. It was written especially for this magazine by Frances Swann icals, and author of "Mr. Gadsbury's Brother," "The Williams, a well-known contributor to the leading periodJocelyn Sin," "Old Forty's Master," etc. The plot is strong and full of dramatic interest, stirring incidents and strong portrayal of characters typically American.

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