COR REAU'NU nUO... THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES MUSIC LIBRARY .9. READING ROOIWONO" The Metropolitan Museum OF Art the CROSBY BROWN COLLECTION OF MUSICAL INSTRUMENTS OF ALL NATIONS Catalogue OF Keyboard Instruments I'RKl'ARKIl I NDER THK DIRECTION AND ISSUED WITH THE AUTHORIZATION OF IHE DONOR gallp:ries 25, 26, 27, 28, 29 CENTRAL CASES N K « ^ R K The M k r k ( ) ]• o 1. 1 r a \ M i- s f; im of Art ' 903 (\f\ I TABLE OF CONTENTS iXTRr-)nrrTr)Rv afattrr. PAGE 1 'refatory Xotc il Tmroduclion hy A. J. I lipkins, I'.S.A 13 CATALOCiri':. I. I\i:vr.o.\R:) Strixci;!) I xsikl'mkxts, Pn/CKr.n. I'latc I. I'saltcry by J'laiiiic? Aiiiniiius Ucrcro. (Xo. \002.) 23 Plates Tf. 1 1 r. Spinet iir \'irsinal. ( Xo. 1230.) 25. 2y Plates 1 \', \'. Spinet liy l)(jmenicii di i'esaro. ( Xo. 2527. ) 29. 31 Plates \'l, \'ll. Spinet or \'irginal by Franciscus Bonafinis. (Xo. zyc-s-) 3,^ .^T Plates \'I11, IX. Spinet or X'irginal. (Xo. 1209.) ^^J. 39 Plate X. Spinet or Xirginal by Cristofel Ruckers. (Xo. 2344.).... 41 ^ j'lates XI, XII. Doulile Spinet or X'irginal by Lndovieus (irovvelns. ►< ( Xo. 1 196. ) 43, 45 '^ 1 Mate .X 1 11. Octave Spinet or X'irginal. ( Xo. 1 77S. ) 47 ] Mate XIV. Octave Spinet. ( Xo. 1227. ) 49 Plates XV, XVI. Spinet by Charles Haward. ( Xo. 1223. ) 31, 53 ^ Plates XVII, XVIII. Spinet by Thomas Hitchcock. (Xo. 1212.) . .55, 57 v^ Plates XIX, XX. Harpsichord. (Xti. 1222. ) 59, 61 . Plates XXI, XXII. Harpsichdrd Ijy Jerome de Zentis. ( Xo. 1221. ) .63, 65 «* Plates XXIII, XXI\'. Harpsichord by Jerome de Zentis. (X^o. "^ 1220.) r,j. Cg p4 Plates XX\'. XX\1, XX\1 1. Harpsichord. ( Xo. 1231.) . .'. .71, 73, 75 l~^ Plate XX\'III. Harpsichord by Ju. Paulus Leoni. (No. 1226.) jj Plates XXIX, XXX. Harpsichcinl hy Jacobus & Aliraham Kirknian. ( Xo. 1678.) 79, 81 Plate XXXI. Harpsichord. ( Xo. 2929.) 83 Plates XXXII, XXXIll. Harpsichord, double-banked, by Louis I'.ellot. (Xo. 1218.) 85, 87 Plates XXXI\', XXX\". Harpsichord, double-banked, by Joannes Couchet. ( Xo. 2363. ) 89, 91 — .V TAllIJ'. Ol" (■( ).\TEXTS PACE Plates XXXVI, XXXVII, XXXMII. HarpsKlicini, tripk-l)anke(l, by Vincentius Sodi. ( Xo. 2359. ) 93- 95. 97 Plates XXXIX, XL. Clavicytheriuni or Clavicembalo N'erticale. (No. 1225.) 99, lOI Plates XLI, XLII. Clavicytherium or Clavicembalo N'erticale. (X'o. 1224.) 103, 105 Plate XLIII. Clavibarp. ( Xo. 2430. ) 107 II. Keybo.\rd Strivlkfi I\stiu-mi:xts. Struck. Plate XLI\'. Dulcimer. (Xo. 1440.) Plate XL\ . Clavichord by Alex. Trasontinus. (Xo. 2543. j Plate XLVI. Clavichord. (Xo. 1216.) Plates XLVII, XLVIII. Clavichord. ( Xo. 121 5. ) 1 17, Plate XLIX. Clavichonl. ( Xo. 1207. ) Plates L, LI. Piano by Bartholomaeus Christophoris (Cristofori). (Xo. 1219. ) 123, Plate LI I. Piano by Johannes Zumpe. ( Xo. 2965. 1 Plates LIII, LR'. Piano. (Xo. 2910.) 129, Plates LV, L\'I. Piano. (Xo. 1 197. ) 133, Plate LVII. Piano, upright model, by Carl Lang, Xuremberg. ( Xo. 1203.) Plates LVIII, LIX. Piano by .\nton ^'attcr. ( Xo. 1214. ) 139, Plate LX. Piano by Andre Stein. (Xo. 1213, ) Plates LXI, LXII, LXIII. Portable Piano by Longman & Proderip. (Xo. 2849.) T45. 147. Plate LXIV. Piano by George Astor. (Xo. 2403.) Plate LX\'. Piano by Thomas Western. (X'o. 1855.) Plate LXVI. Piano. (Xo. 1206.) Plates LXVII, LXMII. Piano by John Broadwood & Sons. ( Xo. 2805.) 157. Plates LXIX, LXX. Piano, upright model, by John Broadwood & Sons. (X^o. 2768.) 161, Plate LXXI. Piano by Clementi et Cie. ( Xo. 1208.) Plates LXXII, LXXl'lI, LXXR^ Piano, upright model, by \\'. W. Stodart. (Xo. 2804.) 167, 169, Plates LXX\', LXXA'I. Piano by Evenden & Sons. (Xo. 2718.) .. 173, IT 13 15 19 21 25 27 31 35 17 41 43 49 51 53 55 59 63 ^5 /o TAiu.i-: oi- cnxTi'ix'rs PAGE Plates LXW'II. LXXX'IH. Piano by Hrani Freres et Cic. (No. 2747. 1 I//. 179 Plate LXXIX. I'iano. ( Xo. 1951. ) iSi Plates LXXX. LXXXI. Piano by Chas. Allirccht. (Xo. 1 199.) . . 183. 185 I'lates LXXXII. LXXXIII. Piano by liciijamin Crehore. ( Xo. 2858. ) 187. 189 I'late LXXXI \'. Piano by Conrad Meyer. (Xo. 2945.) 191 Plates LXXX\', LXXX\'I. Piano by Loud Bros. (No. 2812.) . . 193, 195 Plate LXXX\'II. Piano by Jobn Tallman. (No. T198.) 197 Plate LXXX\'n I. Piano Harp. (Xo. 1 187.) 199 Plate LXXXIX. i. Box Piano. (Xo. 1228.) 201 2. Orpliica. (No. 1246.) 201 Plate XC. \\V>rk-box Piano. (No. 1204.) 203 III. Kp;vi!o.\Rn SiRixfiUD Instruments, Bowed. Plate XCI. Glaviola. ( Xo. 2404. 1 207 Plate XriT. Bowed Instrument witb keyboard. ( Xo. 2908.) 209 1\". Keyl'.oaiui Wind Instruments. Plates XCIII, XCR", XCV. Resjal by Georff \"oll (?). (Xo. 2883.) 213. 215. 217 Plates XCVI. XCVII, XCMII, XCIX. Cabinet Organ by Lawrence Hauslais. (No. 1191.) 219, 221, 223, 225 Plate C. Portative Organ. ( No. 1 188.) 227 Plate CI. Small Portative Organ. (X'o. 1193.) 229 Plate CII. Small Cabinet Organ. (No. 1190.) 231 Plate cm. Bible Regal. (Xo. 2027.) 233 Plate CIV. Book Organ. ( No. 2601.) 235 Plate CV. Book Organ. (No. 1668.) 237 Plate CVI. Book Organ. (No. 2289.I 239 Plates CVII, CVUJ. CIX. Chamber Organ by Thos. Chapman. (No. 1780.) 241, 243, 245 Plate ex. Seraphine. (No. T779.) 247 Plate CXI. Melodeon. ( No. 2496) 249 Plate CXII. T. Rocking Melodeon by Caleb Pacard. (Xo. 1522.) 251 J. Rocking Melodeon. (X'^o. 1195.) 251 3. Harmoniflute. ( Xo. 1200. ) 251 TAHLE C)l' CONTEXTS PAGE Plate CXIH. i. Harmoniphon. (Xd. i \i)2.) 253 2. I'ortahle Melodeoii. ( Xo. 2402. ) 253 Plates CXI \', C"X\'. Clavi-( )r,<^aiiuni 1)\ lU-nnans l'>rock. (Xo. 2741.) -255. -257 Plates CX\'I. CX\ [I. Piano with i'ipe ( )rsjan Attachment, 1)\- Long'- nian & Hroderip. ( Xo. 2803. ) 259, 261 Plates CXVIIl. CXIX. Organo Piano. ( Xo. 27-6.) 263, 265 Plate CXX. C )rsano Piano. ( Xo. 2oy8. ) jC^j \'. Ki:vi!o.\KD Instrumk.xts with Sonorous Sl"ust.\xces. Plates CXXI, CXXII. Glassichord by Leftel. ( Xo. 2854.) 271, 2J^^ Plates CXXill, CXXR'. CXX\'. Glassichord. ( Xo. 2766. ) . .273. 277. 27^) Plate CXX\T. 1. ( ilockenspiel. ( Xo. 1210. ) 281 2. (ilassichord. ( .Xo. 1202. ) 281 Plate CXX\'ir. Piano Harmonica by P.. Cramer & Co. ( X'o. 1201.). . 283 \ I. ML'SIC.M. .\ctESSORTE.'^. Eist of .\ctions 2'!'^7 Abidcls illustratiniL;" the action of the different types of Kexboard Instruments. Keyboard Strini^ed Instruments, Plucked 2(;i, 2c;3 Ke\li(iru"il .^trintred Instruments, .Struck 2^.)'^. 21)7. 2')<). 301, 303 Al'PKN DICES 1. ] )r;i\\iii.L;s ilhistraliiiiL; tlic action ni {h^_■ iliffiTcnt typos (if kcylmard slrini'i'cl inslninicnts. Ki:\'i;().\k'i) SiKixcKD T\STRfMi:\ rs, ri.fcKi-.n. I'Ar.K, PlatL' C'X'W'l 1 1. Spinet or Virginal Action jiji 1. Front of jack. 2. Back of jack. 3. Jack returning to [Kisitinn. 4. Jack resting on balanced key. Plate CXXIX. I iarp.sicluird Action 293 1. Key supporting jacks. 2. Clavicytheriiun (l"prif>Iu harpsichord) .\clion. Kevi!o.\uu Stkixced Ixstkl'.\ii:.\ts, Simu'cic. j/^ r.\r.F. Plate CXXX. ( "lavidiord .-Vction /.'T _'ys ivicliord .-Vction .Ji\ I. " Gchunden " princii)Ie. ,y " Bundfroi " princiiile. Plate C'.X.X.XL Piano .\ctions ' 297 1. The Cristofori ArJ/Totifc. 1709. 2. The Cristofori, >rction, 1720. "'Lite CXX.XH. I'iano .\ctions, ^^r^ 299 3. The Z'>!npc .Action. 1760-65. 4. i..^ linglisli .\ction (Early Broadvvood), 1777. 5. The Broad wood Grand .\ction. 1880. I'late CXX.XIIL Piano Actions 301 6. Primitive Viennese .\ction. without escapement. 7. John .'Vndreas Stein's Action, primitive. 1777-1780. S. Iniprn\ed Viennese Action. .'Vndreas Streicher and Nanette Stein, c. 1S02. Plato rXXXT\'. I'iano .\ctions 303 9. Steinuay Grand Repetition .\ction, Kjo^. — 7 — Ai'i'j-:.\i)icj':s TT. Docu-Mr.XTS RrLATiNC. ic) TiiK Ckistofoki Piano. PAGi; T. Statement of Signer Diego Martelli concerning the Cristofori Piano. . 305 2. Translation of permit to visit the National Museum of Florence at any time, granted to Signora ?ilartelli, who loaned her Cristofori Piano- forte to the Museum 306 3. Copy of Affidavit of Giorgio Cecchcrini regarding his e.xamination of the Cristofori Pianoforte 307 INDICES I. Index of Proper Xanics 310 If. ( ieneral Index 312 ■8 — lifu. f . w. 0nim AM) TO IHK MkMOKV OK i«r. a. -J. I>ipbin6 thk faithful friends whose unfailinii kindness and wise counsel have been the encouraoement and inspiration of mv musical work, this Keyboard Catalooue IS AFFECTIONATELY AND (;RATEFULLY DKDICATHl HV ifl.e.^i. P R i: 1ment of the art. For the Introduction,^ generously furnished by Mr. .\. J. Ilipkins, wdiose services to the history of the keyboard all lovers of music gratefully recognize, the collector desires to express her heartfelt thanks. It is hopetl that in its present form the Handbook may serve as a useful guide to the study of the collection. Of the four chief divisions into which it is customary to divide nuisical instruments, only three are represented in our group; the strings, the wind, and that in which the tone is produced by the vibration of a sonorous substance. To memljranous instrmnents like the drum, the prin- ciple of the keyboard has not yet l.)een a]iplied. The representatives of the remaining three classes are placed as follows: The strings are in the large cases in Cialleries 2/, 28, and 29, the former con- taining those instruments, like the Spinet, the A'irginal, and the Harpsichord, in which the tone is obtained by plucking: the latter, tliose. like the Clavi- chord and the I'iano, in which the tone is obtained by striking. The wind instruments, organs, harmoniums, etc., are contained in Gallery 26, and the sonorous instruments in Gallery 25. Part of the Central Case in the latter Gallerv has licen arranged as a type case to illustrate the development of the two leading classes of string keyboard instruments, the plucked and the 'Reprinted in IlanUliuok Xo. tj. p;igo .xxiii. — I I THE ^rETROI'OLITAX .ML"SKL".M Ol" AR' hammer-struck, from tliuir prototypes, the psaltery aiul the dulcimer. Two examples of keyboard instruments played with a bow are placed in Gallery 28. Models designed to illustrate the leading types of action employed in the keyboard have beeii placed in the cases, and may be found with the instru- ments they are designed to illustrate. Owing to their small size it has not been possible to secure effective photographs, and it has therefore been deemed best not to attempt to reproduce them in the catalogue. For the benefit of the student who desires further information, a list of draw-ings, with the descriptions illustrating the action of the two chief types of key- board stringed instruments, has been added in an appendix. In the present catalogue the instruments are arranged in the following five groups : 1. Keyboard Stringed Instruments — Plucked. Spinets, \"irginals, Harpsichords. II. Keyboard .Stringed Instruiuents — Struck. Clavichords, I'ianos. III. Keyboard Stringed Instruments — Bowed. Claviola. I\ . Keyboard \Mnd Instruments — Organs, Harmoniums, etc. ^'. Kevlioarcl Instruments with Sonorous .Substances — ( ilassichorils, ( iliickeuspiel, etc. \ 1. Musical .\ccessories — Models of Action. Within each group the tirder of age has been followed as far as possible. M. E. B. 12- INTRODUCTION Rv A. I. Hii'Kixs, I'.S.A. '["here are iii> imisical iiistrunients that during the past four liundrcd years have been more generallv distributed where Western music has been known than those with k'eyboards, whether their sound is produced from strings, or with what is understood by wind. The reason for this favor is the comparative ease with wliich the sounds are elicited, without the player having to make the note, and the facilities the keyboard gives for including, as far as hands and fingers will permit, the different voices or ])arts. and the figuration of a harnifniized musical composition, itself an outcome of these facilities. The vidliii and wind (|uartets require as many performers as there are parts to present a like combination. The nearest approach to a keyboard stringed instrument was the Lute, as perfected toward the end of the six- teenth century, but the difficulty of performance was beyond the ability of most who attempted it, and there had to be. even with the most skilled, many unavoidable lacunas. The spinet-player, or claviceml)alist, bad incited the lutenist to a competition in which the lute was bound ultimately to fail, but not without leaving a memory of the technique of the lute in features retained in what is known as accompaniment. The essential foundation of any stringed instrument is in the strings ; ni a wind instnunent, in the reeds and pipes, set in vibration by the breath or other compression of air; luU the characteristic of all, whether wind or stringed, made to sound by key levers (as unlocking the sounds), is the keyboard. It arrests the e\e at once, and even in an embryonic form, in the Hurdy Gurdy. it attracts and suggests its use. By whom it was invented is not remembered. The earliest keyboard known to us is that of the Hydraulic or Water Organ, invented in the second century B. C. at Alex- andria — a dreek invention, and established according to the Greek ideas of music that then prevailed. Water came in to compress the air for the pipes, as bellows were used for the same purpose subsequently. The pneu- matic apparatus ma\' indeed have precede Ilals. followiiijj Guido's Hexachord System. In ]xiinl oi fact, our chromatic keylioard, but with the upper keys, or sharps, put further hack, was in use Umii l)efore: witness the prcat llal- berstadt organ, huilt hy a ]M-iest, Xicliolas Falier, in i.^u. 'I'lie original manual compass was evidently preserved when the organ was restored in 1495. The compass was an old Greek one of fourteen level notes, from P> in the bass clef to a' in the triOile, with the chromatic notes at the hack, the natural keys very wide, so that a major tliird was as much as the hand could stretch ; and, no fingering heing ptjssihle. the keys were depressed hy the side of the hand or fist. I'r.etorius, our next informant after V'irdung about nuisical instruments, tells us the church organ of St. l-^gidius, at P)runswick, dated i45fi, permitted the stretch of a fifth. Of another organ of the same period, that of St. Salvator of X'ienna. he says the compass was extended to the treble clef c-, and in the organ at Mildenberg the compass was ad- vanced to the higher f- of the treble clef, thus getting away from the boundarv of men's voices. l'>\' this time the short measure had been intro- duced, and the bass 11 pipe sounded a third lower, G. The width of the keys was graduallv being lessened, and when Crang. in 141)'). built the great organ of St. Blaise at Brunswick, the octave was only the width of nine keys of Pnetorius' time, when that interval had come to be grasped, as it has since remained, bv an average hand. P)Ut Positive and Portative organs had not wide keys ; in fact, the latter, in the fourteenth century, from contemporary paintings, appear to have been made to speak, not only by small level ke\s, but by gimlet-shaped studs something like the keys of a Concer- tina. The Virginal, or Spinet, which was a Psaltery to which keys were adapted, and which, as well as the clavichord, had been in use in the earliest years of the fifteenth century, even in th.e oldest specimens ( there is one dated 1490) had always narrow keys, as in the modern keyboard. We may there- fore safely conclude that the keyljoard permitting the gras]) of the octave is original, in respect to ap]iroximate measurement, in all the smaller key- board instruments. Let us review the keyboard ])ro\ince at the opening of the sixteenth century. There were large Church Organs, with three rows of keys and pedals, the use of the latter having originated in the old Harmony, as it is called in Pr?etorius, of the drone (point d'orgue). The original Mixture was now broken up into registers, controlled by slides, and the beating or striking reed stops were about to be introduced. There were positive organs for chapels and small i-hoirs, and some portative organs still remained in THE :\IETR01'LiLliAX .MLSEL'-M OF ART use for ])rocessions. In doiiKstic use there were clavichords, still called monochords. with two or three taii.<,feiits (strikers), producin.sj their notes from one pair of strings; and virginals or spinets, with jacks (mechanical plectra), oblong and pentagonal, and the long, wing-shaped double and treble spinets, known as Clavicembali, Clavecins or Harpsichords. In I'.ng- land the first independent compositions for these keyboard instruments appeared; a prologue, as Dr. ( )scar Bie calls it, in his fascinating " History of Pianoforte Playing," that began with P)yrd and Bull, and ended with Orlando Gibbons and the Restoration. At the beginning of the seventeenth century was the dawn of opera and oratorio, and a new order of accom- paniment made the keyboard instruments indispensable to the composer, who had already found them his help and strength in contrapuntal problems. At the beginning of the eighteenth century the Paduan harpsichord maker Cristofori had, in Florence, by his mechanical genius, solved the problem of producing tone-gradation by a keyboard, in the new Pianoforte — (irave- cembalo col Piano e Forte — of his invention. Attempts had been made to varv the harpsichord by stops, particularly in the Netherlands and England, and, incited bv the pianoforte, to lend it a crcscciido and diniiiiuciido by Plenius' Swell, and ultimately by Shudi's \'enetian Swell, which has found an effective development in the organ : but all in vain, as by the early years of the nineteenth century the pianoforte had won the victory all round and Beethoven had composed for it. In this splendid collection, with which Mrs. Crosby Brown has become pre-eminently associated, we may find many noteworthy examples of key- board instruments and their history. Among interesting specimens of the clavichord is one numbered 2543' in the catalogue, attributed to Italy, and dated 7 537. Like many old instruments, this one has met with considerable restoration, not entirely to its advantage, but not affecting its interest and value. Italian natural keys -were at that time of boxwood, rarely of ivory or other material. A German restorer appears to have substituted black natural keys and white chromatics, as was common in Germany in the eighteenth centurv. He got entangled in arranging the sequence of the chromatics, possibly from not understanding the fretting by which two .or three keys would act upon one pair of strings. All clavichords were " gebunden," or fretted, until the epoch of Bach. But there were frequently single notes at the treble end, and this may have puzzled him. Shifting the last chromatic key but one degree upward would put the succession right ; the ' Plate XLV. 16 • IIAXD-LSOOK OF KI-'.^i;().\RL) JXSTRUAIEXTS ,t;r(iti]is of clirnnialics l)oinjj according- U) the position ni tiie fonrtli and fifth witliia tlie octave, 2 , 3, 2, 3. 2, and 2 for the natural compass from B below the i)ass clef to a^ in the treble, twenty-one level keys. To the same restora- tion we may attribute an erroneous relettcrins' of the legend, which should surely run '■ L'T ROSA FLOS FLORViM TTA HOC," etc.— " as the rose is the flower of flowers, so this is the clavichord of clavichords." I^ut it \\as not an Italian practice to use such legends, and this instrument may after all be Flemish or Clerman. Italian or not, it presents very early features of construction, and is the oldest clavichord I have met with. Tlie earliest mentioned in my " Fli story of the Pianoforte"' is dated 1547, and is by Domenico di Pesaro ( Dominicus Pesaurensis). There is a beautiful spinet, Xo. 2527,- in this collection, bearing his name, dated 1561. Another rare sjiinet, Xo. 2344," being oblong, would by many be regarded as a virginal. A\'ith Praetorius the pentagonal was the virginal, but in England, from the Tudor time until the Restoration, the name " \'irginal " covered all key- board stringed instruments, and if '" Spinet " was used it was as a synonym. After the Restoration, with French fashions, the name " .Spinet " came into general use. What makes Xo. 2344 more particularly noteworthy is that it is by C. (Cristofcl) Ruckers, whose instruments, if he made many, are little known, and whose relationshi]) to the great Ruckers family of spinet and harpsichord makers is still undetermined. The Florentine instrument, Xo. 1230,^ is, as was usual with pentagonal or hexagonal spinets in Italy, in a false case from which it can lie withdrawn. Having a projecting', not a recessed, keyboard, it must be as old as the middle of the sixteenth century. It is more interesting in .-mother sense: the wrest, or tuning-pins, being in- serted in a rail in front, over the keyboard. This distinguishes it as a Spinetta Traversa, which is more rare than the .Spinetta Tavola, in which the wrest- ]iins are at the right-hand side, like a clavichord or very old square piano. The spinetta traversa was adopted as the Fnglish ])ost-Restoration model, as may be seen in Xo. 1223,-'' In- Charles Haward, and Xo. 1212," by Thomas Hitchcock. Haward was patronized by Pepys, as he has recorded in his diary. The specimen here is dated 1684. The Hitchcocks. Thomas and John, did not date their instruments, ])ut numbered them in one series; tlie instrument here shown is Xo. 151S. Xo. 1225" is an upright spinet or Clavicvthcrium, probablv of Roman origin, as there are three rosaces in the sound-board. It may be compared in its structure with tlie lovely up- 'T-ondon: Xovello, 1896. = Plates IV. V. "Plate X. 'Plates II, III. ' P!.-ile W. XVI. " Plates XVII, XVIII. " Plates XXXIX, XL. — 17- THE METROl'OLITAX MUSEL'M OF ART ri.i;ht harpsichord, No. 1224.^ The heautiful paintings are again a later ad- dition to a cherished instrument, another proof of how much such treasures were valued in those days! To display the paintings, the outer case is designed like a bookcase, not following the lines of the instrument. As I have said elsewhere,- " the impression conveyed to the beholder by this unique instrument is one of satisfaction, due to the simple and refined scheme of proportion." Then there is the no less rare Double Spinet No. 1196,-* by Ludovicus Grovvelus (mentioned in Huygens' correspondence). It bears the maker's name and the date, 1600. The painting within the lid portrays the duel between David and Goliath, the victory and triumph of the former, who is received with acclamation and music. Prjetorius relates that it had been the custom to put the small octave spinets (see Xo. 1227-') upon the larger instruments, like turrets upon a tower; in this specimen the Ottavina, although removable, is included within the case. Only two other such double spinets are known, both decorated witli paintings and mottoes; one by Hans Ruckers, the elder, is owned by Mr. Morris Steinert;" the other, by- Martin Vander Beest, dated 1580, is at Nuremberg. The appearance of three-bank harpsichords so late in the day, after the search there has been evervwhere for old musical instruments, is rather startling. The object of another keyboard is of simple explanation. The instruments that have lieen discovered are Italian, and as it was not the custom in Italy, as in the Netherlands and elsewhere, to make harpsichords with shifting registers and hand stops, doubling and, as we here see, finally trebling the keyboards was sufficient for the simple changes required. Until the time of Bach and Handel registers were set for harpsichord and organ, as was the case with the orchestras of the time, for the duration of the movement. No. 2359''' is a magnificent specimen of a highly decorated three- bank harpsichord and stand. The date given, 1779, seems rather late for it, although it has a pianoforte front of that epoch. The instrument itself is probably older. The highest keyboard acts upon the octave string, the middle one upon the octave and one unison, and the lowest upon the two unisons. In No. 2363'' we have a rare double-harpsichord by one of the inventors, Joannes Couchet. the grandson of the elder Hans, and nephew and pupil ' Plates XLI, XLII. = " History of the Pianoforte." page 75. ' Plates XI. XII. * Plate XIV. ' Depicted in " Musical Instruments : Historic. Rare and Unique." Edin- burgh, 1888. Plate XX. "Plates XXXVI, XXXVII, XXXVIII. ' Plates XXXIV, XXXV. — 18 — ii.WD-i'.ooK oi'" Kl-:^ r.oARi) ixstkl/.m pints of the youni^er Hans or Ji.'arlieulars of this historical I'iano e Forte and its ni- ventor and maker. That there should he in this collection a Claviola, Xo. 2404,' is of interest. This sostinente keyhoard instrument was devised hv the inventor of the modern upright pianoforte, John Isaac Hawkins, of Ijordentown, Xew Jersey. He was an Englishman liy hirth and an engineer hy profession. He introduced the claviola to the puhlic at Philadelphia in 1802. In his upright pianoforte of 1800 he anticipated many features of construction that have since Ijeen generally adopted, one being the complete iron frame. The catalogue numbers 1923-8, 3107-16 and 2401 - are attached to an in- structive selection of models of actions, showing the meclianical agencies em- ployed in various keyboard instruments to convey the impact of the touch to the strings to cause their vibration. The simplest is for the clavichord. The depression of a key raises a slender brass upright, a " tangent," on the further side of the balance, to serve as a striker, and at the same time as the further bridge of the strings affected. When the key returns and the tangent quits the strings, the cloth interwoven at the back damps them — that is to say, stops their vibration. The next, in order of simplicity, is the spinet and harpsichord " jack," which causes a small plectrum of quill, sometimes leather, to nick the string in passing, the little cloth damper coming into use when it returns. For three hundred years, until its use ended, the jack remained without alteration. The more complex problem of the hammer in the pianoforte has, from Cristofori to the present time, ex- ercised many minds, and will continue to do so as the Pianoforte players contrive increased technical difficulties to be overcome by the touch. September 9, 1901. ' Plate XCI. "See Appendix T, page 2qo. 20- Keyboard Stringed Instruments, Plucked Spinets, Virginals, Harpsichords, Etc. Corresponding to Class I, Division II, Section A OF Handbook No. 13 21 ■ THE METROPOLITAX ML'SKr^r < )I- ART No. 1002 Gallery 25 — Central Case PSALTERY. Trapeze-shaped case with gilt beading, strung with 96 wire strings, arranged in 24 sets of 4, passing over brass bridges at either side of the instrument and plucked with the fingers or small plectra of bone or metal. The sound-board pierced with 2 open holes. The tuning-pins arranged on the right-hand side. The case in which the instrument is placed is painted with scroll-work, musical instruments and figures on a buff ground; the interior of the cover having an interesting painting of players on all kinds of musical instruments. Tyrol. i8th Century. In the instrument is the following label : " Joannes Antonius Berero, Trent, 1745." Length, 2 feet 8 inches. Width, i foot 3 inches. Depth, 5^/2 inches. The Psaltery is placed at the head of this section as being the pre- decessor of the keyboards with plucked strings. ■22 ■ HAXn-l'.OOK Ol" KKYF.OARD I XSTRl'MEXTS PLATE I No. 1002 Till-: .METROroLlTAX .ML'SICr.M OF ART No. 1230 Gallery z~ — Central Case SPIXET, or \'IRGIXAL. Compass, four octaves and one note, C to D ; lowest octave short. Quadrangular ( the left side shorter than the right), supported on a four-legged stand and enclosed in an outer case decorated with stamped leather in hluc and gold; the interior of the cover ornamented with painted birds and flowers and a sacred sub- ject, below which is the motto " liona Est Oratio Cum Jejunio et Eleemosina." The instrument, which is removable from its outer case, has the projecting keyboard characteristic of the early spinets. The sound-board has a sunken rose. Keys, stained wood naturals with black sharps. Leather plectra, ^vlaker unknown. Italy, c. 1550. Length, 2 feet 9 inches. Width. 1 foot 6 inches. Depth. Ti'j inches. This instrument is of particular interest, inasmuch as the wrest-pins being placed directly over the keyboard distinguish it as a Spinetta Traversa, which is more rare than the Spinetta Tavola. in which the wrest-pins are placed at thr right-hand side, as in the Clavichord. In the i6th Century all forms of this class of instruments were in Italy designated as " .'spinetta." in England as " \'irginal.'" although Pn-etorius refers to the pentagonal form as the virginal. When the Spinetta Traversa was adopted as the English post-Restoration model in the 17th Century (see Xos. 1212. Plates X\"II. X\TII. and T223. Plates XV, XYI), and came into popular use in England, the name '" \'irginal " ■was more particularly applied to the oblong or rectangular fc-irm. the Spinetta Tavola. For description of the .Action of the Spinet or Virginal, with illustra- tions, see Appendix I, pages 290, 291. iiAxn-iK >( )i\ ( )!•■ Ki'.NiK )Aki) i\"srkiMi-:.\ IS PT.ATK fl No. 1230 ■25- THE METROPOLIJAX MUSEUM OF ART No. 1230 Gallery 27 — Central Case SPINET, or VIRGINAL, same as Plate II. Second view with frontboard removed, showing action. The position of the wrest-pins, directlv above the keyboard, distinguishes the instrument as a Spinetta Traversa. 26 — iT.wn-nooK or kf.^t.oard ixstrumf-XTS PLATE III r^ If No. 1230 -•/ THE .METKorul.JTA.X .ML'SEl'.M OF ART No. 2527 Gallery 25 — Central Case SPIXET. Compass, four octaves, C to C; lowest octave short. Outer case pentagonal resting on a three-legged stand and decorated with gilt gesso work on a green ground, the interior of the cover orna- mented with a painting representing a hoating scene. The instrument, which is removable from its outer case, is of cedar wood decorated with ivory studs, and has the projecting keyboard. The sound-board has a single pierced rose. Keys, light wood naturals with black sharps (renewed). Leather plectra. Maker, Domenico di Pesaro ( Doinenicus Pesaurensis). Italy. 1561. Length, 4 feet 8 inches. Width. 1 tint 7 inches. Depth, 7}!. inches. — 28- HAND-BOOK OF KEYBOAKU IXSJ J, " ACTA \"1RL"M 1M\( )r>AXT." Keys, ivorv naturals, with hlack sharps. Ouill plectra. Inlanders, c. 1600. L'ristofel Ruckers (C R. ) on the usual Ruckers' rose. Len,£;th, 3 feet 8 inches. Width. 1 foot 5 inches. Depth. S inches. Instruments made hv Cristofel Ruckers are exceedingly rare, only one other specimen at present heing known. — 40 — HAXI)-I',( H )K Ol'" K1■:^•BC.).\R1) l.\"Sl"KL'.\lli.\TS rT.XTK X No. 2344 — 41 — THK METROPOLITAN' MUSEl'M OF ART No. 1 196 Gallery 27 — Central Case DOUBLE SPINET, or \TRGIXAL. Compass of the larger, four octaves and a fourth — G to C ; lowest octave short. Compass of the smaller, four octaves — C to C. Oblong case, the interior of which is decorated with gilding and painted scroll-work. The inside of the cover has a painting in excellent condition, representing the combat between David and Goliath, and the triumph of David, who is received with music. The large front-board bears the motto, " SCIEXCIA XOX HABIT IXLMICU?^! XISI IGXORANTEM." while the front-board of the smaller instrument, inserted in the case to the right of the keyboard, bears the motto. " ARS L'SU IV\'AXDA." The sound-boards of both instruments are painted with flowers and fruit, each with a rose bearing the initials " L. G.," and representing Pan blowing an organ with his mouth. Ke}-s. ivory naturals with black sharps, the latter finely inlaid. Quill plectra. Flanders. 1600. Maker, Ludovicus Grovvelus. The small movable spinet, or ottavina, which was wanting, is a reconstruction, modeled after the larger instrument by Mr. Arnold Dolmetsch. of London. Length. 6 feet 3 inches. Width, i foot 8 inches. The Double Spinet is exceedingly rare, there being but two other such instruments known ; one, by tlans Ruckers. the elder, is owned by Mr. Morris Steinert. and the other, by Martin \'ander Beest, dated 1380, is at Xuremberg. — 42 — HAND-BOOK OF KI-:VLU).\KI) IXSTRUM I-IXTS r L A T E XI No. 1196 •43 — Till-: Mi'iTKi )j'()i,rrA.\ Airsiawi of art No. 1196 Gallery 27 — Central Case DOUBLE SriXET, or A'IRGIXAL, same as riate XI. Second view, sliowini;- the iiiuvable spinel, or ottavina, partially withdrawn from the case. ■44- ilAXD-llooK Ol" Ki-:\'1!().\RI) IXS'l'Rl'MlCXTS L A !■ !•: X No. 1 1 96 ■45 — THE METROPOLITAN .MUSEUM OI" ART No. 1778 Gallery 27 — Central Case OCTA\E SPIXET, or VIRGIXAL. Compass, three octaves— F to F, the lowest G sharp and F sharp omitted. An oblong case of black wood, the interior of cover ornamented with painting on paper, repre- senting scenes in the life of Daniel and Tobias. In the centre a female head. Kevs, ivorv naturals, with black sharps. Quill plectra. Italy. 17th Century. ^Maker unknown. Length, 1 foot 6 inches. Width, 9 inches. — 46 — HAXD-nouK UK Ki-:vi;().\Ki) i.\siRiMi':.\'rs I'l.ATI-; Xlli No. 1778 — 47 TH1<: -METROPOLITAX .MLSKLM Ul'" ART No, 1227 Gallery 27 — Central Case OCTAVE SPIXET. Compass, two octaves and a fourth — (i to C. The instrument, which is pentagonal, is enclosed in an outer case, deco- rated with foliated scroll-work and a coat of arms. Keys, ivory naturals, with black sharps. Quill plectra. Instrument removable from the outer case. Italy. 17th Century. Maker unknown. Length. 1 foot 53/ inches. Width, g^j inches. Depth. 4 inches. These small spinets were tuned an octave above the ordinary pitch, and sometimes included in a larger instrument. See Xo. 1196. Plates XI. XII. -48- HAXD-liOOK Ul- KEYBOARD INSTRUMENTS PLATE XI \ No. 1227 ■49 — Tllli AII'^rkDroLlTAX AlL'SKLWl (_)!•' ART No. 1223 Gallery 27 — Central Case SPIXET. L'onipass, four octaves and a fiftli — ( I in I ) ; lowest octave short. Wing-shaped case of polished walnut on a three-legged stand. Sound-board w'nh cut rose. Keys, ebony naturals, with white sharps. Leather plectra. England. 1684. Maker. Charles liaward. Length. 4 feet fi inches. Depth, 7J/. inches. Drexel Collection. 50- ]1AXI)-1!()()K Ol'- KI-■.^ l;( lAKI) 1 XSTIUM l-XTS P L A T R X \- No. 1223 — 5T — Till': .METROPOLITAN ML"SEL"-\1 OF ART No. 1223 Gallery 2~ — Central Case SPINET, same as Plate N\ . Second view, with frontboard re- moved, showing the wrest-pins placed directly above the keyboard, a later form of the Spinetta Traversa adopted by Charles Haward and Thomas Hitchcock as the English post-Restoration model. IIAXD-BOUK 111- ki;N lit iARI) IXSIKL'M liXTS L A T E X y I No. 1223 53 — THE All-.rF^LOI'UlJTAX MTSia'-M nV ART No. I2I2 Gallery 27 — CeiUral Case SPINET. Compass, five octaves — (1 to (i. \\'ing--sliaped case of walnut on a four-legged stand. Sound-board without a rose. Keys, ebony naturals, with ivory fronts : sharps ivory, with ebony inlaid line. Quill plectra. The number of the instrument is 1518. England, c. 1700. Maker, Thomas Hitchcock. Length, 6 feet 1 inch. Depth, 8 inches. Drexel Collectiun. ■54- iiA.\i)-ii( H )K ()!•■ Kl■;^■|•.( lAki) ixsruL'Mi'.x'rs \ r I', X \' 1 I No. 1212 — 5: rilE METKur(.)LnA.\ MLSEL'.M OF ART No. I2I2 Gallery 27 — Central Case SPIXET. same as Plate X\'II. Second view, with frontboard re- moved, slinwing; a similar arrang;ement of wrest-pins to that of Xo. 1223. Plate X\-.- 5^' HA.\D-ii(K)K ()|- i\i:vi;()AKi) i.\srRrMi-:\'i"s P L A T K X \' 1 I No. I2I2 — 57 i-iii'; .\ii'';i'R()i'()i.i-i'.\\ ML'siawi ()i' akt No. 1223 Gallery 11 — Central Case TTARPSICHORD. Compass, four octaves — C to C; lowest octave short. Long, trapeze-shaped instrument of cedar wood, enclosed in an outer case decorated witii large scroll-work device, the interior of the cover painted with sacred subjects. The sound-board has a cut rose. Keys, light wood naturals, with black sharps (renewed). There are two rows of jacks, acting upon two luiison strings, the ends of the sliders ])assing thrnugh the right-hantl side of the instrument. Keyboard front decorated with nuisical subjects. Italv. c. t6oo. Maker unknown. Length, 5 feet "'X inches, ^^'idth, 2 feet 7 inches. Depth, to inches. The Harpsichord is known in Italy as the " Clavicembalo!' and in France as the "Clavecin'' while the earlv English name was Clavlccmhalo;' or " Harpichorilinii." For description of the action of the Harpsichord, with illustrations, sec Appendix I, pages 292, 2Q3. -58- iA.\l)-i;(K)K OI' KEYBDARn IXSTRTM I-.XTS I'l.ATI' XIX No. 1223 — 59- THE ^rnTRoroMTAX AirSEl'.M Ol' ART No. 1222 Gallerv i~ — Central Case 1 I AkI'SK IK ;K1). saiiK' as I'lalc XIX. Second view, showing ki-\l)(iaril and interior decoration of case. — 60 — IIAXU-BOUK UF K|-.NI',()\RD IXSTKLWIEXTS P L A T K X X No. 1222 — 6i — TlJli .MiiTRuJ'Ol.lTAX .MfSlif.M ( )1' ART No. 1221 Uallcry 27 — Central Case 1 lARl'SICHC )RD. Ciiinpass, four octaves and a fourth — C to I'"; the lowest octave formerly sliort. A long, trapeze-shaped instrument of cedar wood, decorated w ith mouldings of the same, resting on a three- legged stand, rile exterinr ])ainte(l with Cupids and wreaths of ilowers. On each side of tl.e co\er is a pastoral scene and a ilistant landscape. The sound-board has a sunken rose. Keys, ivory naturals, \\ith black sharps (modern). Two rows of jacks, acting on two strings in unison; the}- were worked formerlv b\- small buttons within tlic case. Quill plectra. Inscribed: " 1 Heronynuis de Zenti.s \ iterbieusis. b. Romae. .\.nno Dom. MDCLAHI." Italy. ili.sS. Maker, jemme de Zeutis. This instrument has been much restored. Length, 6 feet (1 inches, \^'idth, 2 feet 8 inches. Depth. 10' j inches. Purchased by the Metropolitan Museum of Art. — 62- IIAXD-IU )()K OI' KF.>-I',().\R1) IXSTRTMRXTS P L A T I'. X \ I No. 122! -r>v THE METKOrOLlTAX MLSEL'M OF ART No. I22I Gallery i~ — Central Case HARPSICHORD, same as Rlalo XXI. Second view, with front- hoard removed, showine' action and interior tlecoration of case. .64 HANU-UUUK OF KEYBOARD INSTRUMENTS PLATE XXII THE MKTROl'O] A'WW MUSKIWI OF ART No. I220 Gallery 25 — Central Case. HARPSICHORD. Compass, four octaves and a sixth — A to F. A lonj;', trapeze-shaped instrument of cedar wood, enclosed in an outer case, resting on three solid legs, elaljorate!}' turned and gilded. The sides of the case painted with conventional ornaments and a coat of arms ; tlie exterior of the cover ornamentetl with scroll-work, the interior with representations of birds, flowers and Cupids with musical instruments on a gilt ground. The sound-hoard has a single rose. Keys, boxwood naturals, with black sharps. There are two rows of jacks, acting on two tinison strings, their ends projecting through the right-hand side of the case. Leather plectra. Inscription: " Hieronymus Zenti I-'ccit Rom?e A. S. MDCLXX'I." .\nd "Joannes Ferrini Florentinus Restauravit MDCCL\'." Italy. 1666. Maker, Jerome de Zentis. Length, 7 feet 9/2 inches. Width, 3 feet. 66- JIAX1)-1'.()( )K ol' Kh'.VP.OAKI) IXSTRUMENTS 1 ' L A r E X X 11 1. No. I220 — 67 Till-: .MK'rRoi'fn.rr.w ml-seum of art No. 1 220 Gallery 25 — Central Case HARPSICHORD, same as Plate XXHL Second view, showing keyboard and interior decoration of case. ■68- IIAND-P,OOK OI'- Ki:VD().\Rf) IXSTRUAIENTS I' I. \ T [•: X X I \' No. 1220 THE AlK'JROroLITAX .ML'SILL'.M OF ART No. 1 23 1 Gallery 27 — Central Case HARPSICHORD. Four octaves and a fourth— A to E. A long, trapeze-shaped instrument on a three-legged stand. Ke\1)oartl front inlaid with ebony and ivory, and with small ivory plaques engraved with scenes from the Passion of our Lord. The jack-rail similarly inlaid. At the end of the keyboard are gilt mythological figures on dragons. The inside of the cover painted with nuisical scenes and sleeping Venus. The sound-board bears three sunken roses. Keys, ebony naturals with ivory fronts, black sharps with ivory inlay. Two rows of jacks, acting on two unison strings and moved within the case by small buttons at the ends of the sliders. Also a row of liuft dampers. Quill jilectra. Italy. T/th Century. Maker unknown. Length. 6 feet Ci inches. Width. 2 fei I 10' _| inches. 70- ITAXn-P.i )r)K OF KRVr,()ARI) IXSTRUMF.XTS rT.ATF. XX\' No. 1231 Till' AIEIRUI'OLITAX .MUSEUM OF ART No. 1231 Galler\' 27 — Central Case IIART'SICHORD, same as Plate XX\'. Second view, showinq- <(.\hiiar(l and inlaid frnntboard. /^- H.\Xl)-i;()()K ()!■ KI'.MloARl) I XSTKL'M ICXTS n.ATE xx^■T No. 1 231 — 7.V Till' Mi'TRi )!'( n.rr w" .\irsi-:[".\i oi- art No. 1231 Gallery 27 — Central Case TTARPSICHORD, same as Tlate XXA'. Tliir.l view, witli front- hiiard removcil. sliowino' acticni. — 74 — HAXD-IU H )K ol- l^l■;^•l;u.\l^;l) IXS'l'RL'MEX'l'S p r. A r !■: x x \' i No. 1231 — 75 — THE .METROIXJLITAX ML'Sia'.M OF ART No. 1226 Gallery 27 — Central Case HARPSICHORD. A small trapeze-shaped instrument of cedar wood. The outer case painted gray and decorated with tioral designs, rests on eight bowed legs. The soundboard has a sunken rose. The ke_\s, boxwood naturals inlaid with black lines, the sharps dark wood studded with ivory. Two rows of jacks acting on two strings in unison ; quill plectra. The frontboard inlaid with a coat of arms, the name of the maker and the date, as follows: "Jo. Paulus'Leoni Civ. R.H. F. .\n. D. MDCCLXXni. Italv." Length, 5 feet 8 inches. \\'idth. 2 feet. Height, 3 feet i inch. 76- HA\1)-I'.()( )k Ml KKVBOARI) l.\Sll1'()1J'J-.\X MrSKr.M Ml- AkT No. 1218 Gallery 2~ — Central Case HARrSICHORD, doul.k- l.anked. same as Tlate XXXII. Side view showinaf case decorations. 86- II.WD-I'.i H )1\ i)l- KI-:N IK ) AkI) IXSTRIMI-IXTS ri^ATl'. XXXJll No. 121H -S7- TUF. MF.TR()I'()LI'I"AX MrSEl'M ( )F AF-iT No. 2363 Gallery 25 — Central Case HARPSICHORD. Double-banked. Compass of both keyboards, four octaves and a fifth — F to C. A long trapeze-shaped case supported on a wooden stand with seven legs, finely decorated with carving and gilt gesso work. The outside of the case painted with flowers and conventional ornament on a gilt ground. The interior of the case ornamented with black scroll tracery on a gilt ground. The sound-board, with a single rose, is somewhat similar to that adopted by Ruckers. The keys, naturals of rounded ivory, with gilded fronts ; sharps black. Four rows of jacks, acting on three strings, two unison, one octave, the fourth row acting on the first string. A lute stop. The jack of this stop, by plucking the string close to the bridge, gives the reedy tone, which was much employed by performers on the lute. The vibrating length of the longest unison wire is "5 feet 6^ inches. The vibrating length of the shortest unison wire 6'4 inches. The octave wires are half the above length. The upper keyboard acts on the first string and with the lute stop ; the lower keyboard on the first, second, and third strings without the kite stop. The sliders are worked by small brass knobs, which project through the right-hand side of the case. Quill plectra. Flanders, c. i'')50. IMaker. Joannes Couchet. Length, 7 feet 6 inches. Width, 2 feet 10 inches. Depth. 10' j inches. Jean Couchet was a nephew of Jean Ruckers. See Hipkins' " History of the Pianoforte," pp. 82-84. ■88- IIAXD-B()OK Ol" KEYBOARD IXSTKLM i:XTS PLATE X X X I \ No. 2363 -89- Till'. MI-.TROI-'nl.rr.W MTSI'l'M OF ART No. 2363 Gallery 25 — Central Case HARPSICHORD, (kml.le hanked, same as Plate XXXIX'. Side view, showino; case decoration and ornamental stand. — yo- iiANT) i',( i( )K ( )i" Kl•:^■l'.( t Aki) i\s rui'Mi-:\rs PLATE X X X \ No. 2363 ■ fji Tin: .Ml'". TRi H'MLITAX .ML-SMTM ol' \]iT No. 2359 Gallery -5 — Central Case HARPSICHUKU. Tripk-banked. Compass of each keyboard rive octaves — F to F. A trapeze-shaped case, wholly gilt, supported on a five-legged stand, decorated with elaborate carvings and pierced scroll-work in Louis XV style. The exterior of the case painted with conventional ornaments and medallions representing Cupids and flowers. The outside of the cover bears a coat of arms, three crescents (or), grouped on a shield (azure), the arms of the Strozzi family. The in- terior has a medallion representing a love scene. The upper front- board has the following inscription engraved on an ivory plaque : " Vin- centius Sodi Florentinus Fecit — Anno Domini 1779," with two coats of arms of the Strozzi family and that of the city of Florence. Keys, ivory naturals with ivory fronts ; sharps, dark l)rown wood with two ivory lines. Each keyboard projects slightly over the one below, there being no front-boards between them. The sound-board has no rose. Three rows of jacks, with three sets of strings (two unison and one octave). The vibrating length of the longest unison string is 5 feet 2J/2 inches; that of the shortest 6)^ inches. The octave strings are half this length. The upper keyboard acts on the octave strings ; the middle keyboard on one unison and the octave ; the lower keyboard on the two unison strings. No stops or means of shifting the sliders. Leather plectra. Italy. 1779. Maker, Vincentius Sodi. Length, 7 feet. Width, 3 feet 5 inches. Depth, 9.;4 inches. This specimen of a triple-banked harpsichord was apparently made to obviate the use of stops, and is probably imique. Professor Frederico \'ellani. Secretary of the Museo del Liceo ]\Iusicale, Bologna, says : " The instrument, on account of its age and to avoid farther damage from the destructive work of time, was subjected to some indispensable but slight repairs : and these repairs were all executed according to the best rules of art." Mr. Alexander Krans, of Florence, writes as follows : " The Harpsi- chord is a magnificent piece of workmanship and well adapted to a Mu- seum. I have no hesitation in declaring it the work of \''incentius Sodi, for I compared it with one by the same maker which is now in my possession and forms a part of my Collection, It is restored and reduced to its present form so that it can he played." ■92- 11. WD ]',()( )K ol- KI'VP.OARIl IXSTRl'MI-:XTS J' LA T !•: X X X \- I No. 3359 — 93- TtlK .MKTKUl'ULITAX ML'SEL.M Ul" AKT No. 2359 Gallery 25 — Central Case HARI'SICHORD. triple banked, same as Plate XXXVI. Second view, showino; interior decoration. — 94 — lIAXD-r,( H )K UI" KI'.N r.i )AR1) I XS Tkl'M h'.X'l'S P L A T ] ■. X X X V 1 1 No. 2359 ■ 95 Tl-IE All-nUui'OUTA.N MUSEUAl UF ART No. 2359 Gallery 25 — -Central Case HARPSICHORD, triple banked, same as Plate XXX\ 1. Third view, showing case decorations and carved stand. — q6- HAXD-I!OOK OF KEYlJoARI) IXSTKL-.MKXTS PLATE XXX \- I I No. 3359 — y/ TIIL': AII-;iR( i|'( )1.| TAX AlL'Sja'.M ol' AR No. 1225 Gallery 27 — Central Case CLAVICYTHERIUM or CLAA'ICEM HALO VERTICALE. Up- right harpsichord. Compass, four octaves and a fourth — C to F : lowest octave short. A \ertical, trapeze-shaped body, supported on a square stand. Sound-board decorated with three roses. Kevs, Ixixwood nat- urals, with black sharps, two strings to each note. Leatlier ])Iectra. Italy. c. 1600. INIaker unknown. Height, 4 feet 1 i inches. A\'idth, 2 feet 10 inches. Similar instruments are described by l'ra;torius and Mersenne. For description of the action of the Clavicytherium or Clavicembalo A'erticale, with illustration, see Appendix I, pages 292, 293. ■9S- AXI) HOOK or KL^YBOARU IXSIIUM I'.XTS I'l.ATF. XXXTX No. 1225 -99 — Till-; MI'lTKi il'( )I.l TAX Ml'SEf.M Ol-' ART No. 1225 Gallery 27 — Central Case CLAVICYTHERIU-M. or CLAMCE.MBALC ) \'ERTICALE. same as Plate XXXIX. Second view, with frontboard removed, showing action. — TOO- Il.WI) nooK OF KEYBOARD 1 XSTRUiMEXTS I'LATI-: XL No. 1225 lOI THK .MKTROruLlTAX MLSHIM OF ART No. 1224 Gallery 27 — Central Case CLAMCYTHERIIAI or CLAMCEMBALi ) \ERTICALE. Up- right harpsichord. Comjiass. four octaves — C to C : lowest octave short. An oblonsj case, su])porte(l on a four-legged stand, the folding doors and keyboard painted with sacred and musical subjects, the cover bearing a coat of arms. The sound-board, decorated with a single rose, assumes the usual trapeze shape, the remaining sjiace bein.g decorated witli a painting of David playing on the harp. Keys, ebony naturals, with black shar]js. inlaid with an ivorv line. Leather plectra. Two unison strings plucked bv two rows of jacks, the sliders immovable. The corners of the cover have crumbled away from age. Italy. Ivarly 17th Century. j\ Faker unknown. Ileigiit. 7 feet 5 inches. Width. 2 feet 4 inches. .\ similar instrument exists in the Snoeck L'oUection at (Ihent, under the title " Clavecin Buffet." \02 IIA.\l)-i;( )( )K Ol- KI'IVBOAkl.) IXS'l'RL'Ml'.XTS 1' I. A r 1-: \ !. 1 TlIK MI-.IUi »l'i tl.ri'AX Ml'SiaWI Ol- ART No. 1224 Gallery 27 — Central Case CLA\ICYTHERIL\M, or CLAMCEM I'.AU ) ^■ERTICALE. same as I 'late XLl. Second view, showing; interior decoration of case. — 104 — 1JA.\I)-I!( loK ()!• KF.VP.OAKI") 1 XSTRTM I'ATS IT. ATE XLTI No. 1224 10:; — THK .Mi;rR( )i'( )i.i'i".\\ Mi;si-:r.M oi- art No. 2430 Gallery 26 — Central Case CLAXiHARl'. Compass, seven octaves — A to A. Harp-shaped case in bircFs-eye maple, with gilt carving, standing on two cross-legs, with gih scroll-work. The sonnil-board with a gilt decoration and a painting representing a female figure surrounded hy Cupids. Keys, ivory naturals, with Ijlack sharps. Strings of wire : two lower octaves overspun. Two pedals, one lifting the dampers from the strings in the two lower octaves, the other opening a swell shutter similar to that in the harp. Italy. Late lyth Century. Maker unknown. Height. 5 feet 8 inches. Width. 4 feet 4 inches. Depth, I fmit 6 inches. The Claviharp was invented ]iy Christian Dictz, of Paris, in 1815. I'y an ingenious mechanism the string is plucked when the key is depressed, giving a harp-like efYect to the instrument. The striking is done by finger- like hooks, which pluck the strings in passing, and which are immediately brought back in their original position bv little leaden weights. The in- strument has also a self-acting muffling apparatus, which can be shut ofif by a pedal register, and two other pedal registers, one controlling a list or strip of cloth, the other pressing upon the deepest clmrds of a paper roll, thus together producing a rattling sound (bassoon register). The ])resent specimen has received tiiodcrn improvement, the plectra of two lower octaves l-.aving been replaced by hammers similar to those on the piano. — 1 06 \\i)-r,()()K oi" Ki'.viioAki) i.vs'i'Ki'.\ii-:\'rs i:.\Ti': X Li I I No. 2430 107 II Keyboard Stringed Instruments, Struck, Clavichords, Pianos, etc. Corresponding to Class 1, Division II, Section B OF Handbook No. 13 — 109 - MF.TKol'ol.lT.W MrSl-.LM DF ART No. 1440 Gallery z; — Central Case DULCIMER. 22 doiililc strings, giving a diatonic scale of three octaves — F to ¥. A black oblong case, standing on 4 legs, ornamented witli decorative beading. Sound-board bearing a central bridge and having 2 pierced sound-holes. L'. S. A. Early Kjth Century. Maker unknown. Length. 3 feet 5 inches. \\'i(hh. 18 inches. Depth. 6'/> inches. The Dulcimer is placed at the head of this section as being the pre- decessor of the keyboards with struck strings. 110 — HAXD-iiooK ()!•■ K]■:^■|;(J.\l and C in the highest octave. It is impossible to say whether this was the original arrangement of the keys. Italy, c. 1600. Maker unknown. Length, 2 feet 8 inches. \Mdth, i foot 9 inches. Depth. 5 inches. The mechanism of the tangent striking the string- and so producing a nuisical note was probalily derived from the early monochords with their movable bridges. — 1 14 11 WI)-l!()()K ()]■ KiiVDUARI) 1 XSTkUMENTS V T. A T E X L \' I No. 1216 — 115 — THE METROPOLITAN AIUSEUM OF ART No. 1215 Gallery 28 — Central Case CLA\TCHORU. Two views: figure i, frontboard removed; figure 2, frontlioard in place. Compass, four octaves : the lowest octave short. Oblong wooden case, covered with colored paper. Keyboard recessed. Keys, light w^ood naturals, with black sharps (renewed). This instru- ment is gchitinlcii, or fretted ; that is, 2 tangents and sometimes 3 tangents strike on the same string. 2 strings to each note. The lower 6 notes hundfrei. or iinf retted: that is, with a pair of strings to each tangent. Germany. 17th Century. Maker unknown. Length, 3 feet 2 inches, ^^'i(lth, iij4 inches. Depth, 3 inches. — T16 — HAND-I'.OOK ol' KEYBOARD IXSTRUMEXTS LATE XL\'IT No. 1215 tt: THE .METROrOLITAX AIL'SEUM OF ART No. 1215 Gallery 28 — Central Case CLAA'ICHORD, same as Plate XLMI. Enlarged view showing action. In this instrument 45 notes are obtained from 22 pairs of unison strings ; the six lower notes e, f, f sharp, g, g sharp, a, bnndfrcl or un- fretted, — a pair of strings to each tangent : the remainder, gcbimdcn or fretted, — two or three tangents striking the same pair of strings. 1 2 3 4 5 6 I .s 9 10 11 12 in 14 15 16 17 18 19 20 21 22 E F Ft G G* A Bb d (W f g a ci di fi gS: bS' A'- fs gs. bflj BB c« e fS g« bb lit! cl. el g^ ai bb, dS, e2 g= a= bb. c» For further description of the Clavichord action see ApiJeiidix I, Plate CXXX, page 295. ttR — w -< I? o Z THE METROPOI.TTAX MUSEUM DF ART No. 1207 Gallery 28 — Central Case CLAVICHORD. Compass five octaves — F to F. Oblong case on a carved wooden stand with four bowed legs. The outer case painted in imitation of tortoise-shell ; the inside of the cover black, with painted panels. Keyboard recessed. Keys, ebony naturals, with Ivory sharps. This instrument is hunJfrci, or inifrcltcd. Germany. 1765. Maker, John Christojiher Jesse, Organist at St. Martin's Church, Halberstadt. Length, 5 feet. Width, 2 feet. Depth, J^A inches. For an instrument of this kind Bach wrote his celebrated Preludes and I'ugucs. demonstrating the practicability and value of equal temperament in tuning. 120 — WD-IIOOK OF KEYBOAKI) INSTRUMENTS P L A T l'. X L I X No. 1207 — 121 THE AFETROror.ITAX .M I'SI'.rM OF ART No. 1219 Gallery 29 — Central Case PIAXO. Compass, four octaves and a fourth — C to F. Trapeze- shaped case of cedar, standing on three legs. Outside of case painted black. Keys, light wood naturals, with black sharps. Two ivory knobs on the side blocks, enabling the action to be withdrawn from the instru- ment. Two strings to each note. The vibrating length of the longest string is 6 feet 2 inches ; the shortest 43/2 inches. Sound-board without a rose. Italy. 1720. Maker, liartholomjeus de Christophoris. Above the front-l)oard on the block which carries the action are the following inscriptions : " Bartholomieus de Christophoris Patavinus Inventor Facierat Florentise, MDCCXX," impressed in Roman characters, and on one side, in running hand, " Restaurato I'Anno 1875, da Cesare Ponsicchi Fircnze." Length, 7 feet 7V2 inches, ^^'idth, 3 feet 3 inches. Depth, gy^ inches. This specimen possesses an unusual interest, as being the earlier of the two existing pianos known to have been made by Cristofori, the in- ventor of the pianoforte. The other, dated 1726, is in the possession of RIons. Alexandre Kraus, of Florence, Italy. liartolommeo di Francesco Cristofori was born in Padua in 1653. and died in 1731. The house where he lived is not known. His workshop was in the Officina (offices) of the Count of Tuscany, where he was under the auspices of the Prince of Tuscany. A monument erected after the Cristofori Festa is in the Cloister of Santa Croce, on the right of the entrance coming from the piazza, and at the end of the Loggia. No por- trait of Cristofori is known to exist. From Air. Hipkins' introductory article on Keyboard Instruments (page 1 1 ) we quote the following: " Cristofori's invention was pul)lished in 171 1, and this pianoforte, dated 1720, represents it in its perfected form. The action has the ' escapement " without which there can be no vibrating note : the ' check,' an all-important step toward repeating notes ; the shake, etc. Cristofori's action was exactly copied by Silbermann, as well as the structure of the instrument, in the three pianos he supplied to Frederick the Great, which are still preserved at Potsdam. The bio- graphical notice of Cristofori in Grove's ' Dictionary of Music and Musicians,' gives all the known antecedent particulars of this historical Piano e Forte and its inventor and maker." For description of the Cristofori action, with illustration, see Ap- pendix I, pages 296, 297. Documents bearing on the history of the in- strument are printed in Appendix IT, page 305. 122 — IIAXI) r.i )( )K o].- Kl'.^lW ).\R|) l.\STI inches, ^\'idtll. i foot 5 inches. Height, i foot 10 inches. — 128 — riAXD-BOOK Ol' KICYBOARIJ JXSTRLWI ICXTS i'LAT E LI 1 1 No. 2910 — I2y- TJll': .\ll';ik()l'()LlT.\X MUSEUM OJ' ART No. 2910 Gallery 28 — Central Cnse. PIAXO. same as I'lato LIII. Second view, with frdiithoaril removed. 130- IIAXD-IIOOK Ol- K1-:V1U)ARI) IXSl-RU.MEXTS PLATE Ll\ No. 2QIO T.V THE .METROPOLIT.W ML'SEL'.\[ OF ART No. 1197 Gallerv 29 — Central Case PIAXO. Compass, five octaves — F to F. Oblong case, supported upon a stand, with two legs resting on cross-bars. The outside of the case decorated with applique open-work in black oak. Keys, ebony naturals, with ivory sharps. Primitive Mennese action, without escape- ment. Originally furnished with one forte pedal, hfting the dampers. Nuremberg, Germany. i8th Century. Maker unknown. Length, 5 feet 4 inches. Width, i foot 10^4 inches. Depth, 8 inches. For description, with illustration, of the primitive \"iennese action, without escapement, see .Appendix 1, pages 300, 301. — u- ]|\XI)-11()()K ()|- Kh'.Vru ).\kl) IXSTRL'.MEXTS PLATE L \" No. 1197 133- Tin-: MF.TKOI'OLITAX Ml"SEL'M ()!• AKT No. IIQ7 Gallerv 29 — Central Case riANO, same as Plate h\'. Second view, with trontboarii removed, sliowinsr action. '34- Wn-BOOK OF KI-:VD()AK1) J.XS TKL'-MliXI'S I'LATI'-. I.\ i No. II07 135 — THE MirrRoroLITAX ML'SEL.M OF ART No. 1203 Gallery 28 — Central Case PIAXO. Compass, six octaves and one note — F to G. Upright model, the upper part harp-shape, tlie lower ])art in the form of a cabinet, the l\e}board supported by two mermaid figures in carved wood, gilde(i. The case of curled mahoganx' veneer richly inlaid with mother-of-pearl. The works protected by a i)laited silk screen. Ke\'s, mother-of-pearl naturals with black sharps inlaid with pearl. The loud and soft pedals are jilaced in the centre lielow the kevboard. Tui-cord thrnughout. Ger- many. i8tii Century. ^ Faker. Carl Lang. Nuremberg. Height. 7 feet toJ/. inches. Length, 4 feet. Depth, 2 feet. 136. IIAXD-nclOR- OF Knvr.OARn IXSTRUMFA'TS P L A T K L \' 1 1 No. 1203 — T37 — 'niF, MI'.TKOpnT.ITAX MlSiaWF OF \"RT No. I2I4 Gallery 28 — Central Case PIAXO. Five octaves — F to F. Oblong- case of light wood, resting on four legs. Keys, Ijlack naturals, with white sharps. ISeneath the front of the instrument two genouilleres (knee levers), the invention of John Andreas Stein, act respectively as forte and soft pedals, the latter muting the strings with cloth. Austria. Late i8th Century. Maker, AntiHi A'atter. \ ienna. Lcngtli, 3 feet 3 inches. Width, 2 feet 2 inches. Depth 8 inches. 138- HANi)-i!(_)()K ()]■ K^;^■L;().\l^:l) ixstruahlNTS P L A T E T. \- I T r No. 1214 w — Till': AlliTRDl'OLITAX All'SiaWI ( )!• ART No. 1214 Gallery 28 — Central Case P]AX(), same as Plate L\"III. Sccuiiil \ icw , witli frimtlioard rc- nio\e with \Mlliam Frederick Collard. took up the business of Longman and Broderip, abotit the year 1800. In 1773, when Clementi was eighteen years of age. he composed his famous So- natas (op. 2) for the ])iano. This was the first real pianoforte music published, and formed the foundatii.m of the true sciiool of jiianoforte- Iilaying. 164 — IIAXIVP.OOK Ol'" KI'.^I'.OAI-;!) IXSriU'MF.XTS PLATE L X X I No, 1208 - if.5 ■ Till". M1".TR( )l'()l.rr.\\ ML'Sia'M OF ART No. 2804 Gallery 29 — Central Case PIAXO. Compass, five octaves and a fourth — F to C. Mahogany "case, su])ported on four square, tapering legs, inlaid with whitewood and ornamented with brass mounts. The upper part in cabinet form enclosing the works, the unoccupied space being utilized with shelving. Two glass doors, lined with antique white velvet, decorated with paint- ing I if nuisical instruments, nuich discolored. Keys, ivorv naturals, with black sharps. Early English action. Tri-cord throughout. Divided bridge. Two pedals. England. rSoi. ]\Iaker, W. \\'. Stodart, Golden Square. Height, 8 feet 8 inches. Width, 3 feet /'/S inches. Depth, i foot to inches. 1 66- l].\XI)-i;()()K Ol'- KI'-.VI'.oAKi) ixsrurMi'.NTS PLATE LXXTI THE METROPOLITAN MUSEUM OF ART No. 2804 Gallery 29 — Central Case PIANO. Upright model, same as Plate LXXII. Second view, with doors open and screen removed, showing action. -— 168 ■ HAND-BOOK OF KEYBOARD IXSTRUiMENTS PLATE T. X X [ T I THE METROPOLITAN MUSEUM OF ART No. 2804 Gallery 29 — Central Case PIANO. Upright nioilcl. same as Plate LXXII. Third view, show- ing back, with panel removed. 170 ■ PIAND-DOOK OF KKVBOARD IXSTRUAIEiNTS PLATE L X X T V 171 THE MKTkul'oLlTAX .ML'SICL'.M ( )!' ART No. 2718 Gallery 28 — Central Case l'IAX(). Compass, five octaves ami a sixth — E to C. Oblong case of nuihogany with rounded corners: carved legs with brass claw feet. Three drawers below the kcylioard. Keys, ivory nattn-als. with black sharps. Early English action with di\'ided bridge. England. 18th Cen- tury, ^lakers, Evcnden & Sons, London. Length, 5 feet 6 inches. Height, 2 feet 8 niches. Depth, 2 feet 2,^2 inches. — V 172- IlA.Xn-BOOK ()I>" K1':VU()AR1) 1XSTKL".MEXTS PLATE LXXV ! — I — I No. 2718 — ^73 — THE METROPOLITAN iMUSEU-M OI- ART No. 2718 Gallery 28 — Central Case PIANO, same as Plate LNN\'. Second view, with front board re- moved, showinir action. — 174 — IIAXIM'.OOK ol-' K1{N r.( ).\RI) I XS TRl'M F.XTS I'l. AT i: LX X \' I No. 2718 — '7b — THE METROPOLITAN' MUSEUAF Ol- ART No. 2147 Gallery 29 — Central Case PIANO. Five octaves — F to F. Oblong mahogany case, orna- mented with raised brass lines and resting on four turned legs. Keys, ivory naturals, with black sharps. Bi-cord throughout. This instrument originally had two knee or pedal levers, the invention of £rard. 1794, which respectively raised the dampers and muted the strings by lifting a beam covered with soft leather. France. 1800. Makers, firard Freres et Cie., Rue du Mail, No. 37a, Paris. Length, 4 feet 10J-2 inches. Width, 2 feet. Depth. 8 inches. Sebastian Erard was the first to make pianos in France { 1777)- .^t the time of the French Revolution he went to London, and returning in 1796 introduced a grand piano. .Among the improvements in the de- velopment of the pianoforte action, the Erards are credited with the fol- lowing: In 1808 they patented the upward bearing and the "celeste" pedal; in 1821 the double escapement action, and four years later they patented bolts to tension bars. In 1838 thev introduced the " Harmonic Bar.^' In 1824 Liszt made his debut in Paris, using an Erard grand ])iano of seven octaves, C to C. — 176- HAND-nODK ()P KKYI'.OARn IXSTRUMENTS PLATE LXX V I I No. 2147 177 THE Ml-.TRt X'OLir.W .MlSia.M ( )l' ART No. 2147 Gallery 29- -Central Case. FL-WC), same as Plate LXXNII. Second view, with trdiithoard re- moved, showing' action. -178- II.WD-UooK ()1- Ki'IVliOARl) IXSTRU.MEXTS PLATE L X X \' T T T No. 2147 ■7y- Till'. ME'rK( )['(_)!. IT. \\ Ml'Sl'.rM n]- ART No. 1951 Gallery 28 — Central Case PIANIXO. Five octaves — F to F. Narrow oblong mahogany case, with cut corners, resting on four scjuare legs. Keys, ivory naturals, with black s!iar])s. Xo pedals or stop levers. Europe. Late iSth Century. Maker unknown. Length, 3 feet 6 inches. \\'i(Itl). i foot 2j/ inches. Depth, 6 inches. 180 AXII-ROOK t)F KEYBOARD IXSTRLMENTS PRATK r,XXIX No. 1951 T«I THE METROl'OLITAN :\IU.SEU.M OE ART No. 1 199 Gallery 29 — Central Case I'lAXC ). Five octaves — E to E. Oblong- case of mahogany, in- laid with white wood and ornamental lines, resting on a stand with four legs, brass mounted. Keys, ivory naturals, with black sharps. A forte lever on the left-hand side of the case raises the dampers. Bi-cord. U. S. A. Late i8th Century. Maker, Clias. Albrecht, Philadelphia. Length, 5 feet 2^4 inches. Width, 2 feet y inches. Depth, 9 inches. Charles Allirecht. a German, liegan making pianos in Philadelphia as early as i/Sy. In Spillane's " History of the American Pianoforte " (New York, 1890, p. "j"/), reference is made to the above instrument, describing it as having " a beautifullv finished and inlaid case, that is almost a composite work of art in itself, and speaks much for .-Mbrecht's skill and aesthetic perceptions. It contains some distinctly original ideas in detail in the form of the case, which go to show that the person re- ferred to was no mere plagiarist of mechanical ]irinciples, but an im- prover." — !,Xj HAXD-l'.ooK oi" KI'.VBUAKD IXMTtUMF.XIS TLATE LXXX No. IIQO -,S.^ .\lin'R(_)l'(_)LIT.\.\ AirSKL'-M OF ART No. 1199 Gallery 29 — Central Case PIA.XO. same as Plate LXXX. Second view, with frontboard re- moved, showing: action. -.84- IIANU-BUOK UF KHYBOARU iXSTRLAlHNTS LAT 1-: l..\ X X I No. 1 199 185 Tin: .Mi-:TK()ruLiT.\.\" ml'SElwi uf art No. 2858 Galler\' nj — Central Case PIAXt ). Compass, five octaves and a tifth — F to C. f Oblong' ma- hogany case with inlaiil Hnes. Ke\s ivory naturals with black sharps. Bi-cord throughout, 'the eight lower bass notes over-spun. Originally furnished with a forte pedal raising the dampers. L". S. A. c. 1800. Maker, Benjaniin Crehore, Boston. Length, 5 feet d' j inches. \\'i(lth, 1 foot 1 1 '4 inches. Height, 2 feet 9J/i inches. Benjamin Crehore was born in Milton. iNlass., where he died in i8ig. He was the first to make pianos in Boston, about 1798-1800. The date of his earliest piano is not known, but in 1791 he had alreadv acquired a reputation in Boston, New York and Philadelphia, as a maker of violins and otlier instruments. — 1 86 — II \.\l)-l',( H )K ()!■■ Ki;Vi;( ).\KI) IXS'IKIMICNTS P L A T F. L X N X No. 2858 -187- TMK MI'.TKi )l'( )|.H A.\ MrSia'NF OF ART No. 2858 Gallery 29 — Central Case I'lAXC), same as Plate LXXXII. Second view, with trontboarri removed, showing- action. - 188 II WD r,( H iK ()]■- Kl'-.vno \Ri) IXSTt^rMF.XTS P T. A T E T, X X X T T T No. 3858 — 189- THE :\IETROrOT.TTAX Ml•SEU^[ OF ART No. 2Q45 Gallerv 29 — Central Case I'l AX( ). Ciinipass, six octaves, F ti) !■". Ulilung inahoLjam' case with tunict! legs. Keys ivory naturals with hlack sharps. Bi-cord : the six liiwer notes (ivcr-s])un. I'.oston, I'. S. A., c. 1833. Maker, tniirad Meyer. Length. 5 feet 7J4 incb.es. Height. 2 feet 11 '4 inches. Width. 2 feet 4'_| inches. Conrad Meyer was born in Marburg. Hesse-Cassel. He emigrated to Baltimore in i8ig and subsequently settled in Philadelphia, where he died in 1881. In 1832 he introduced a ]iiano with an iron frame, thus initiating the system of metal plates. — 190 — irwo-r.noK ov kf.yp.oard l\■STRU^rF.\TS PLATE LXXXIV No. 2945 T91 THE MKTRUl'ULlTAX .ML'SEL'-M UE ART No. 2812 Gallery 29 — Central Case PIANO. Compass, six octaves — E to E. Oblong mahogany case profusely ornamented in gilt and brass moulding, with carved pieces under the keyboard. Carved legs. Keys, ivory naturals, with black sharps. Bi-cord ; the last eight notes oversprui, the six lower notes single, ilakers. Loud Brothers, Philadelphia. Early lyth Century. Length, 5 feet 9 inches. Height, 3 feet. Width, 2 feet 5 inches. Thomas Loud, Sr., whose sons formed the above firm, was an Englishman and the first pianoforte maker to introduce overstringing, v/hich he jiatented in England in 1802. He afterwards emigrated to New York, where in 1822 he had a small repair shop at 102 Canal Street, after- wards transferring his business in 1828 to Walker Street, and later to Broadway near Grand Street. He died in 1834. Thomas Loud, Jr., the founder of the firm of Loud Bros., was m liusiness in Philadelphia as early as 1816. The name " Loud Bros." first appears in 1822. The firm was famous in its day. doing a large business until 1837 when it met with reverses and suspended manufacturing. Later the firm of Loud & Companv was established and continued in business until 1854. 192 — JIA.\l)-l;()i >K ol- KI-;Vi;( )Akl) ixstrlwikxts PLATE L X X X V No. 2812 — '93 THE METROPOLTTAX AfUSEl'M OF ART No. 2812 Gallery 29 — Central Case PIAXO, same as Plate LXXXW Second view, with frontboard re- moved, showins: action. _r94- HAND-BOOK OF KEYBOARD INSTRUMENTS PLATE LXXX\T No. 2812 193 THE METRorOLlTAX .ML'SIIL'.M OF ART No. 1 1 98 Gallery zS — Central Case PIAXO. Compass, six octaves — F to F'. (Jblong case of dark mahogany, with rounded comers, supported by a stand of two legs, rest- ing on cross-bars. The case profuse in gilt decoration of conventional designs of fruit and flowers. The stand elaborately carved, with claw feet having in the centre a lyre supporting the pedals. Keys, ivory naturals, with black sharps. Two pedals ; one forte, raising the dampers, the other muting the strings with leather. Hitch-pins attached to an iron frame. P.i-cord, the five lower strings single. U. S. A. c. 1825. Maker, John Tallman, Xew York. Length, 5 feet 9 inches. Width, 2 feet 2 inches. Depth, i foot 3 inches. 196- [IA.\I)-I1( )( )K ()1" Kl-:>tU).\RI) IXSI'RLWIKXTS PLATE LXX X \ 1 r No. 1 198 — 197 THE METROPOLITAN MUSEU?iI OF ART No. 1187 Gallery 28 — Central Case PIAXO HARP. Compass, seven octaves — C to C. This instru- ment, which is built in the form of a large harp with keyboard attached, rests on a solid base in cabinet form. The curve of the harp, the front pil- lar and keyboard front decorated with gilt moulding and ornaments in gesso work. Keys, naturals ivory, with rounded fronts ; sharps black. Strings of metal ; bi-cord ; last seven strings single. The loud and soft pedals are placed in the centre below the keyboard. Europe, c. 1800. Maker unknown. Length, 4 feet 9 inches. Width, 2 feet 1 inch. Height, 7 feet 7 inches. Mussard, of Lausanne, made pianos of this shape in the earlv part of the last centurv. 198 HA\D-1',U()K OF KEYBUARD INSTRUMEiXTS P L A T E L X X X \ I I I No. 1 187 — 199 ■ Till". METROrOLITAX MUSEUM OF ART No. 1228 Gallerv 28 — Central Case 1228. BOX PIAX< ). Two views: figure 1. aciiuii in [jlace: tigure 2. action partially withdrawn. Compass, two octaves and a fifth — F to C. Small square case, covered with ebonizefl veneer. ( )n the outside of the cover is a medallion painted on the natural wood, representing a large tree, lieneath \\hich two maidens are ofTering gifts at the altar of Diana. In the interior of the cover a medallion in gilt inlay, re]5resenting a Roman head. The kevboard draws out for the purpose of playing. Keys, white naturals, with black sharps. I'.i-cord. I'rancc. c. 1800. Maker un- known. Length, I foot ') inches. \\'idth. I foot 5 inches. Depth, '/y4 inches. This instrument formerly belonged to the Duchess of Parma. No. 1246 Gallery 28 — Central Case 1246. ORPHICA. Two views: figure i, frontboard in place: figure 2, frontlioard removed. Compass, four octaves — F to ]•'. This instrument is in the form of a recumbent harp, with metal strings, and keys enclosed in a walnut case. Keys, ivory naturals, with black sharps. One string to each note. Austria. Invented by .Vugust Rollig in 1795. Length. 4 feet 5'/. mches. ^^'idth. i foot I^-S inches. 200 ■ \.\l)-r,()OK Ol- KliVBOARD INSTRUMENTS PLATE LXXXTX No. 1228 No. 1246 201 — THE METROPOLITAN' MUSEUM OF ART No. 1204 Gallerv 28 — Central Case WORK-BOX PIAXO. Compass, four octaves— F to F. A short, oblong case of dark walnut, inlaid with white wood, standing on a carved leg, with broad base. The cover bearing the figure of aii eagle within a wreath. On lifting the cover a work-box is disclosed, with looking-glass. Beneath the tray is the instrument, with recessed keyboard. Printed on the block are these words : " Imported and sold by S. Hart & Sons, port- able desk and dressing-case warerooms, Philadelphia." One string to each note, the 12 top notes bi-cord. Europe. Early iQth Century. Maker unknown. Length. 2 feet 5 inches. Width. 1 foot T) inches. Depth, 6' I. inches. 202 ■ M\xn-p,(')OK f)i- k'F.vr.oARn ixstrumexts PLATE X C No. 1204 — 203 Ill Keyboard Stringed Instruments, Bowed Claviola Corresponding to Class I, Division II, Section C OF Handbook No. 13 TTTF. ArFTROPOI.IT \\" Ari'SRVM Ol^" ART No. 2404 Gallery 28 — Central Case CL.WIOLA. Compass, two octaves and four notes — G to P>. Small chest of wood, from whicli rises a small viol-shaped sound-board, across which are stretched 2^ wire strinns, resting on 3 bridges. In front a guide, sliding along a brass rod, holds a violin bow. On press- ing a key the string is raised and brought into contact with the bow. The four upper notes are produced frnni the strings in the octave below by means of a small pad on a lever, which touches the lower strings half-way, thereby producing the octave harmonic. Keys, white naturals, black sharps. Europe. Late ii)th Century. Maker unknown. Height. 2 feet 5^4 inches, ^^'illtll. 1 foot 3-V4 inches. Length of bow, 2 feet 3j-^ inches. The Claviola was invented by John Isaac Hawkins, of Bordentown, Xew Jersey, an Englishman bv birth and an engineer by profession. The invention was introduced in Philadelphia in 1802. 206 — IIAXD-BOOK OF KEYBOARD INSTRUMENTS P L A T E X L' I No. 2404 207 — THE ai]':tr(ji'olitax ml'skl'.m of art No. 2908 Gallery 28 — Central Case . KEYBOARD BOWEL) IXSTRL'^IEXT (TOXOMETER?). Compass, one octave and a sixth, B flat to F natural. A shallow soundbox with flat back resting on two cross-bars ; the outline somewhat similar to the viol. Reddish-brown varnish. Two C sound-holes. The keyboard, mounted in a small framework or box, is placed on the neck of the instru- ment. When the keys are depressed they come in contact with three slender wires which, j^assing under them, rest upon a bridge and are wound about a single peg at the opposite end of the instrument. Keys, l)oxwood naturals with black sharps. A'c^sges, France. 171P-1820. Length, i foot 6 inches. Width, 7 inches. — 208- IIAXD-JJOUK OF KEYBOARD IXSTRLMKXTS PLATE XCII No. 2908 209 ■ IV Keyboard Wind Instruments Organs, Harmoniums, etc. Corresponding to Class II, Division II, Sections A and B OF Handbook No. 13 2IT — Till-; Mi'/iKi )i'()Lrr \.\ :\irsEU.\r of art No. 2883 Gallery 26 — Central Case REGAL. Compass, three octaves and a third, F to A. An oblong case of painted wood in two parts, each of which contains a bellows. \Mien the instrument is in use these bellows are fitted to the back of the keyboard, and liy lifting them alternately, wind is supplied to a set of small metal pipes fitted with beating reeds placed immediately behind the keys. The interior of the case is lined on one side with sheets of musical manuscript, on the other with illuminated manuscript and a label bearing the following inscription: " Ao 1575 ververdigte Georg YoW Orgelmager in Nuremberger dis orgelwegk ur ( ?' ) manzusammen und in die Balge (ge) legt." The keys are light wood naturals with black sharps. When the instrument is closed the keyboard is placed between the bellows which form the case. The original decorations of the case, which have been partially destroyed by several coats of paint, consisted of a monogram, in which the letters A' G are distinguishable, surmounted by a coronet, a horn of plenty on either side. Germany, i6th Century. Length, 2 feet 3^ inches. Width, iij.4 inches. Depth, 5J2 inches. Dimensions of closed case. The invention of the Regal is accredited by Adlung to G. \'oll, an organ builder living at Nuremberg in the middle of the i6th Century. It was originally built on a small scale and used as a portable instrument in religious processions, especially in the precatory walks of the peasants at harvest time when a blessing was invoked upon the crops. \Mien employed in this way it was suspended from the left shoulder by a strap and the bellows were worked by the left arm, while the right hand touched the keys. It was afterwards built on a larger scale for tise in chapels and monasteries. HAXD-MooK ()!■■ KMViJoARl) IXSIRl M l-.XtS P LATE X C I I I No. 2883 273- Till'. METROPOLITAN' Ml'SKl'M OF ART No. 2883 Gallery 26 — Central Case REGAL, same as Plate XCIIL Second view, sliowine; tlie interior of the case and the pipes at the Ijack of the keyboard, also the points at which the bellows are attached. — 214 — HAND-BOOK OF KEYBOARD INSTRUMENTS PLATE X ( ■ 1 \" No. 2883 215 — Mirn^lol'oI.ITAX MUSEUM OF ART No. 2883 Galler\- ib — Central Case REGAL, same as I'lau- Xl'1 1 1. Tliiiil \ie\v. showiiiQ- \hv case closed. 216 ■ HAXD-l'.OOK OF KKVIU lAKD I \S TRIM EXTS PLATE X C V No. 2883 Till". Mi:TR()P()i.rr,\x ml'Seum of art No. 1191 Gallery 26 — Central Case CAPiTXET ORGAX with Removable Spinet. Compass, three octaves and eight notes — C to A. Case of ebony veneered wood in the form of a cabinet, decorated on the outside with panels of antique crimson velvet, supported on a four-legged stand (renewed). On opening the folding doors a cabinet is disclosed, liaving 14 drawers and a central cup- board with bronze door-mounts, and a decorative bronze panel repre- senting the Entomliment of Christ, llelow is the keylioard of the organ. Kevs, ivory naturals, with l)lack shar]is. Tl.e lowest octave short; the ujiper G sharp omitted. ( )n the left-hand side are four stops, admitting the wind to the following registers placed at the back of the case: Stop Diapason, Flute, Super-Octave and Regal, the pipes of the last two registers missing. The organ is blown by a liandle attached to the side of the stand of the case, and working a small bellows beneath the cabinet, from which the wind is transmitted to a wind reser- \'(iir ])laced on the top. This may not have lieen the original method of bldwing the instrument. Immediately above the keyboard of the organ is placed in a recess an octave s]iinet. Compass, three octaves and eight notes. This instrument nia\' be plaved either within tlie cabinet or may lie withdrawn for separate use. The sound-board is painted with flowers, and has one small rose. Germany, 1598. Maker, Lau- rcntius Hauslais. On the jack-rail of the Spinet is the following in- scription: " D. G. Quid posible apud Laurentinm Hauslais X Toribergensur," i. e., " P.v the favor of God. see what Fawrence Hauslais of Xuremberg can do." \\'idth, 2 feet 5 inches. Height, 2 feet. Depth, I foot 10 inches. 21!: HA\D-1!0()K OF KEYBOARD INSTRUMENTS r L A T !■: X C \' T No. 1191 219- THE .ML:TR()rt)Lri".\X .ML'SKUM ( )!■■ ART No. iioi Gallery 26 — Central Case CAIIIXHT ()K(.A.\, with reninvahk' spinet, same as Plale XCN'I. Second view, showing air reservoir distended and spinet in position. 220- HAND-BOOK ol' KI••.^■|!()AK^) INSTRUMENTS PLATE XC\I1 No, 1191 221 THE MliTKOi'CJLITAX MUSEUM OF ART No. 1191 Gallery 26 — Central Case CARTXET ORGAN, with removable spinel, same as I'iate XCA'I. Third view, showing spinet withdrawn. — 222 IIAXD-BOOK OF KEYUUAKl) INSTRUMENTS PLATE XC\TTT No. 1191 — 223 — THE Ail'Tkol'Ol.ITAX ML'SKLM ol' ART No. IIQI Gallery 26 — Central Case CAr.IXKT OKG.W, with reniovalile spinet, same as Plate XCVL I'^ourth view, showing; pipes at the back. 224- 11. WD- BOOK OF KLlVl'.OARl) INSTRUMENTS I'LATL: X CI X No. IIQI — 225 - THE AiKT[<()i'C)Lri'AX MUSEUM Ol' ART No. 1 1 88 Gallery 26 — Central Case !'( )I\TATI\'E ORGAX. Two views: fii^urc i, front view ; figure 2, back view. Compass, four octaves and one note — E to F. A low wooden case, exterior painted blue, with conventional ornaments of gilt and gilt moulding ; in the centre below the keyboard a grotesque head. At the back and outside the case, one set of wooden open pipes, arranged in two rows. Kevs, boxwood naturals, with black sharj)s. The organ is blown by two small handles attached to small Ijellows, which fill an air reservoir concealed beneath the pipes. Italy, 17th Century ( ?). In its present form tliis instrument contains a great deal of new work. Length, i foot 10I2 inches. Depth, i foot 5 inches. Height, not in- cluding ])ipes. 1 I inches. The term " Portative " was applied to a little instrument which could be moved easily by one person from place to place, and in its smallest form could be jilayed while carried — as often seen in jiaintings repre- senting St. Cecilia. .\ " Positive " was a larger organ, requiring more eflfort to move aad only playable wdien placed in position. — 22fi — JI.\XI)-l!OUK OF KEYBOARD INSTRUMENTS r L A TEC No. 1188 — 227 — THE MKTROrOI.TTAX Ml'SEL"M OF ART No. 1 193 Gallery -6 — Central Case SMALL POSITIX'E ORGAX. Two views: figure i, front view; figure 2, back view. Compass, three octaves and nine notes — C to A ; the lowest octave short. Dark wooden case with ordinary beading, llie folding doors bearing two coats of arms. 42 pipes within tlie cabinet : a carved screen w'ith ornamental pipe-front conceals one set of sounding pipes ; the treble of open metal, the bass of stopped wood arranged in two rows. On each side of the keyboard a block with carved scroll. Xo stops. Keys, ebony naturals with gilt fronts, ivory sharps. The organ is blown by two small bellows on the top of the instrument, raised alter- nately. Germany. Early 17th Century. Maker unknown. Height, 2 feet 10 inches. Width, i foot 7 inches. HAXD-r.OOK OF KEYBOARD INSTRUMENTS PLATE C T No. 1193 — 229 — TTTE ArETROPnUTAX ^Il'SECM ()]■ ART No. 1 190 Gallery 26 — Central Case SMALL CABIXET ORGAX. Compass, two octaves and two notes — C to T). Walnut case in cabinet form, almost black from age, with carved i)ilastcrs. rejiresenting human fif^ures, at each side, and i\'(iry i>laques inserted in the corners, representing saints in prayer; in front, four small drawers, with central cuplmard. having folding doors carved, with l)rass mounts. Immediately above the keys, wliich are placed within a recess liencath the drawers, lined with antique velvet, an oil ])ainting representing the raising of Dorcas. At the back of the cab- inet one set of metal pipes, arranged in two rows. Keys, ebony, with white sharps. The organ is blown by a carved hand-lever, wliich projects from the right-hand side of the cabinet. The air reservoir ( now missing) was originally placed on top of the caliinet. Beautiful in- strument. Germany. Early T7th Century. jNIaker unknown. Height, I foot 9 inches, ^^'idth, I foot 11 inches. Depth, I2j^ inches. ■230- ITAXD-r.fX^K OF KF.VI'.OARl) I\•STKr^[F.XTS P T. A T F. C T T No. 1 190 2.^1 TITK MF.TRorOl.TT AX ^rrSEl'^F OF ART No. 2027 Gallery 26 — Central Case BIBLE RE(7iAL. Two views: figure i, folded between the bellows; figure 2, keyboard and bellows in position. Compass, four octaves — C to C. An oak case in book form, placed at the back of the keyboard, contains two bellows, which were lifted alternately, supplying wind to the instru- ment. Immediately behind the keyboard is a set of pipes, furnished with beating reeds, placed on their sides. Keys, light wood naturals, with black sharps. The keyboard folds in the middle, and with the pipes can be placed within the book-shaped case ; hence the name Book or Bible Organ. Germany. 17th Century. Reproduction. (Original in the Galpin Col- lection, Hatfield, England. Length, i foot 7 inches. Width, i foot. Depth. "8 inches. Dimen- sions of closed case. 232 IIAXD-i;0()K OF KEYBOARD IXSTRUMENTS PLATE C I 1 I No. 2027 23,^ THE METROPOLITAX MUSEUM OF ART No. 2601 Gallery 26 — Central Case BOOK ORGAX'. Two views: figure i, closed; figure 2, open, showing bellows. Compass, two octaves and eight notes — A to C. A case in the form of an old missal book, covered with brown leather, and ornamented with large embossed mounts of pierced brass. On loosening the leather fastenings and raising the cover, immediately in front is found the keyboard, and at the back two long bellows, furnished with lead weights, and raised alternately by two leather straps. Below the keyboard are placed the reeds, on the single beating principle, as in the old Regal organs. Keys, stained boxwood naturals, with black sharps. France. 17th Century. Maker unknown. Length, i foot 7 inches. Width. 12'/ inches. Depth. 4'j inches. 2.S4- IT.\.\1)-1!()()K ()1- KI'-.VnoARI) IXSTRl .\li;.\TS r L A T 1{ C 1 V No. 2601 — ^35- THE -METKUl'OLITAX MUSEU.M OF ART No. 1668 Gallery 26 — Central Case BOOK ORGAN. Compass, two octaves and seven notes — F to C. A case in the form of four folio books, covered with stamped leather, each bearing the title, " Traite des Pais Bas." Within the cover is attached an engraving of the Supper at Enimaus. On opening the cover, which is formed by the first volume, immediately in front is the key- board ; at the back, a bellows moved by a lever with a carved handle outside the case, and consisting of one small bellows and an air reservoir. Below the case are the reeds, on the free reed principle. Keys, black naturals, with white sharps. France. The case appears to be old — 17th Century; the interior renewed. Maker unknown. Length, i foot 7J4 inches. Width, i foot 2 inches. Depth, 934 inches. 236- ll.\XU-1300K OF KEYBOARD IXSTRL'.MKXTS PLAT !•: C \' L ^^*^%| L "^mis«>"5is' inches. Width. 7 inches. Depth, 6 inches. — 248 — il.WD-BOOK OF KEYUOAKI) INSTRUMENTS PLATE CXI No. 2496 249 — Till'. MRTROPOLITAX ML'SI'-UM OF ART Nos. 1522, 1 1 95, 1200 Gallery 26 — Central Case 1522. ROCKIXG MELODEOX. Compass, three octaves— G to G. A small oblong case of walnut. At the bottom is placed the blowing ap- paratus, consisting of a pair of bellows. By pressing down the left-hand side of the instrument the bellows are filled, the lower ones being dis- tended by a strong spring, and !)\- maintaining a rocking motion a con- stant supply of wind is provided for the instrument. Keys, ivory naturals, with black sharps. .V small button on the top of the instrument moves a swell shutter. U. S. .\. Early ic;th Century. .Maker. Caleb Pacard, Bridgewater, Mass. Length, i ioot 8y> inches. \\'idth. 10' j inches. The Rocking Melodeon is sometimes called a " Teter." 1 195. ROCKIXG AIELODEOX. Compass, three octaves— G to G. Sim- ilar to the preceding, but tlie case is more shallow and the construction suggests a little earlier date. Keys, ivory naturals with black sharps. A small pin on the top of the instrument moves a forte shutter. L'. S. A. Early 19th Century. Maker unknown. Length, 2 feet 3 inches. W Uhli, i foot. 1200. II.\RMOX'IFLl'TE. Compass, three octaves and five notes — C to F. An ebonized wooden case, with bellows at the back. France. Late 19th Century. .Maker unknown. Length, i foot g'/j inches. Width, 7 inches. Depth. Ci mches. This instrument can he played on the la]), knee, or on a stand : if on a stand, the bellows are worked liy a pedal. The Flarmoniflutc was first made in 1R52 bv Roulon, of Paris. ■ 2:;o ■ iiA.\i)-iu)()K ()!•■ KI•:^•l;().\Kl) ixstrl'.mkxts r LATE C X 11 No. 1522 No. 1 1 95 ■ ^--^y^ssi/isJlSES^SSSS^^^Blt^B^ti^^^SS^ i PWffr^^^^^^^^^^^jBfe. No. 1200 TllR METROI'OLITAX MUSEUIM OF ART Nos. 1192, 2402 Gallery 26 — Central Case T192. HAR]\I()XirH()K. Compass, two octaves and seven notes — C to A. A small shallow case, containinsj a set of free reeds, which are placed at the back. On the left-hand side a lirass nozzle, to which is attached a rnl)her tube. The wind supply is furnislied from the mnuth of the per- former. France. 19th Century. Maker unknown. Length, i foot 5 inches. Width, 9 inches. 2402. PORTABLE IMELODEOX. Compass, two octaves and four notes. Small narrow case of red mahogany. At the back a single bellows ; in the front an air reservoir. Keys, white naturals, with black sharps. A doul)le set of free reeds in unison. The instrument is contained in a small red mahogany case, furnished with a leather carrying strap. On opening the cover the keys are seen, occupying the length of the case; the hack forms a bellows, the front an air reservoir. Beneath the keys arc two rows of free reeds in unison. England. Late TQth Century. Maker unknown. Length, i foot 3'::( inches. Width, 4' 2 inches. Depth, Ti'j inches. ■252 — llA.XD-noOK OF KKVr.OARl) IXSTRUMENTS I'L ATi£ CX 1 I I Nos. 1192, 2402 253 — tiil: AiETkui'uij tax museum of art No. 2741 Gallery 29 — Central Case CLAVI ORGANUM. Compass, four octaves — C to C; lower C sharp missing. The exterior of the case decorated with gilt figures in reHcf, probably Dutch work in Japanese style. This instrument was made by order of the Elector of Hanover, afterward George I. of Eng- land, for presentation to his regimental chaplain, who rendered the Elector an important service. The landscape on the interior of the cover represents Schulenberg Castle, the residence of the Elector. Keys, black naturals, with white sharps ; the fronts and sides of the latter red : the black keys inlaid with metal in hollow dots. The nameboard inlaid with ebony and ivory. This instrument was originally a harpsichord and an organ of forty-eight pipes, the former having been transformed into a piano with an octave stop : the action is early English, the strings fastened to the hitch-pins l)y means of eyes. The soundboard bridge is furnished with two sets of pins to procure the bearings of the strings. The octave hammers are on wire shanks, the others on wood. The action-jack has no escapement. The hammer is hinged to the rail with a slip of parch- ment. The soundlxiard still keeps the rose. The vibrating length of the longest double string is 5 feet 6 inches : that of the longest octave string. 3 feet 6 inches ; the viljrating length of the shortest double strings is -6 inches; that of the shortest octave string, 3 inches. The octave strings lie on their own bridge. The organ attachment has 48 wooden pipes, stopped diapason, 8 feet ])itch. The valves are placed beneath the lower keyboard and are operated liy sticker action, a loose jack topped by a wire screw with a padded button depressed by the kev. The keyboards are controlled by two pairs of l)uttons. The lower keyboard plays the organ with or without the piano, the upper plays the octave attachment ; but tliis may be " coupled " with the lower octave and organ by shifting ihc position of the keyboard. The name of the maker inlaid in metal, similar to the decoration on the kevs, as follows : " Elermans Brock, Orgel und Instrument Alachcr zu Hanover, A. D. 1712." Length, 7 feet 5)4 inches. Height, 3 feet 7 inches. This instrument was once owned by Carl Engel and belonged to his original collection. — 254 — HAND-BOOK OF KEVllOAKU INSTRUMENTS PLATE C X I V No. 3741 — 255- rill'. .Mi'.TRi )i'( ii.rr.w .Misi-:r.M ni- art No. 2741 Gallery 29 — Central Case CLA\'I ORGAN LAI, same as Plate CXI\'. Second view, showing organ pipes. 256. 11AX1)-1;00K Ui' KEYIIUAKU IXSTKLt.MliXTS PLATE CXV No. 2741 257- THE Ail'.IKi ilH ilJTAX MTSiaAl < >1' ART No. 2803 Gallery 29 — Central Case ITANC) W rni I'll'E ORGAN ATTACHMENT. Compass, five octaves — E to E. Mahogany case, in cabinet form, with lines of black and white inlav. Oval openings on the side panels, with ornamental «ire net work backed w itii crimson cloth much discolored by age. Keys, ivory naturals, with black sliar])s. Double strung in the bass, the thir- teen upper notes tri-cord, the remainder bi-cord. The dampers are di- vided intu treble and liass sectiuns, raised by two stops nn the left-hand side of the case. A third stop operates a damper for silencing all the strings. The organ attachment extends from lower C to F — 54 notes. Wooden pipes, 8 feet pitch, the lower 19 melodia or stopped diapason. A ])edal on the right-hand side, also one in front, for blowing the organ. Marks in the lower part of the case indicate that a pedal attachment for thirteen bass notes at one time formed part of the instrument. This ad- dition was evidently of rude workmanship and is now missing. Long sticker action connects the keyboard with the valves. The pipes are placed horizontally beneath the keyboard, the air reservoir placed at the side. On one of the organ pipes is a label inscribed as follows : " Made by Eaton Pet (?) in the year of our Lord, 1786." England, c. 1780. The |)iano bears the name of Longman & IJroderip, musical in- strument makers, 26 Chea])side and Ko. 13 Hay Market. London. Length, 5 feet 6 inches. Height, 3 feet i inch. Depth, i foot 11 inches. Messrs. Longman & Broderip were the predecessors of Clementi & CoUard in Cheapside, and John (leibs, inventor of the " hopjier " action, is said to have been in their employ. 258- HAND-BOOK OF KEYDOAKD IXSTRUMENTS PLATE CXVI No. 280,^ 259 THE iMETROPOLITAX .MUSEUM Ol- ART No. 2803 Gallery 29 — Central Case PIAXO WITH rirE ORGAN ATTACHMENT, same as Plate CXVL Second view, front with panels removed, showing the sticker action and air reservoir. 260 — IIAXI) r.()( )K Ml' Kl'AT.oAKI) INSTRUMENTS A i" I-: c x \ 1 1 No. 2803 ■ 261 THE METROPOLITAN MUSEUM OF ART No. 2776 Gallery 29 — Central Case ORGAXO PIANO, Compass, three octaves and a third — C to E. Rosewood case in cabinet form. Keys, ivory naturals, with black sharps. The most interesting point in the action is the key, which is padded at the back end and so heavily leaded as to stop the ventil perfectly when at rest. The piano action is simple. The soundboard carries a stout rim for the hitch-pins at least 3J/2 inches thick. Bi-cord in the treble. The bass strings rim into a metal shoe at the base. Regulating screws on a rail in front of the hammer-butts produce the escapement of the hammer after the stroke. There is no back-check to the hammer; the dampers, however, are controlled by two springs, one of which on the spring-rail presses the damper against the string. U. S. A. igth Century. Maker unknown. Height, 3 feet 8' 4 inches. Width. 2 feet ij/ inches. Depth, i foot 8 inches. 262- HAND-ROOK OF KEYBOARD INSTRUMENTS PLATE C X V 1 1 1 No. 2776 • 263 THE METROPOLITAN MUSEUM OF ART No. 2776 Gallery 29 — Central Case ORGANO PIANO, same as Plate CXVIII. Second view, front, with panels removed, showing action. — 264 — HAND-BOOK OF KEYBOARD INSTRUMENTS ] - L A T E ( \ T X No. 2776 — 265 ■ THE .\rETR()l'()LI'l".\X Ml'Sl-.rM ( )!• ART No. 2098 Gallery 26 — Central Case ORGANO PIANO. Compass, five octaves and ei.s^ht notes — E to C. A tall, upright case of mahogany, standing on four claw-ball feet, with two turned pillars supporting the keyboard, and above, two ornamental pillars, painted green and gold. Keys, ivory naturals, with black sharps. Long sticker action. At the bottom of the case five brass pedals — Soft, Louil, liassoon. Drum and Silent. The organ mechanism enclosed within the bottom of the case below the keyboard, consisting of two small bellows with air reservoir, painted red and gold, and worked by a foot pedal on the right-hand side, in front of the case. The sound is pro- duced by reeds of the harmonium or free tv])e. The organ part of the instrument seems to be a later addition. U. S. A. Early iQth Century. Maker imknown. Height, 8 feet. Width. 3 feet 8j/^ inches. Depth, 1 foot 10 inches. — 266 HAXD-BUOK OF Kl'.VHC ).\KI ) I XSTRUMENTS I'LATM (XX No. 2098 — 267 — V Keyboard Instruments With Sonorous Substances. Glassichord, Glockenspiel, Piano Harmonica, etc. Corresponding to Class IV, Division II, of Handbook No. 13 269- Till': .\li:i K( )1'UL1TA.\ .MLSEL'.M U¥ ART No- 2854 Gallery 25 — Central Case GLASSICHORD. Compass, three octaves and one note. Small, square mahogany case resting on a pedestal. Keys white naturals and black sharps. The hammers strike small plates of glass arranged in a single row back of the keyboard. The works are protected by a silk screen. Austria. 1752. INIaker, F. T. Leftel, Menna. Length, 2 feet 2,'/j inches. \\'idth. i foot yy2 inches. Height, 2 feet 6^/2 inches. — 270 — IIAXD-noOK OF KEVBUAKD IXSTRUMEXTS PLATi' ex XI No. 2854 271 THE -Mli'l'RUl'ULITAX :\IL"SEL".\1 UF ART No. 2854 Gallery 25 — Central Case GLASSICHORD. same as Plate CXXl. Secuiul view, willi front- board removed, showiii"' action. ll.\.\D-BUUK Ol' KIlYIJUAKD IXSTKL M F.XTS I' LA 'I- !•: CXX I [ No. 2854 — 273 • THE AlETROPOLITAN .MUSEUM OF ART No. 2766 Gallery 25 — Central Case GLASSICHORD. Compass, three octaves — F to F. A plain case of stained wood in cabinet form. Keys, ivory naturals, with black sharps. The action consists of three tiers of glass, over each of which is a row of hammers, all working downward. Depressing a key pushes a w^ooden button some tliree inches from the front of the keyboard ; this in turn acts upon a counter lever, attached to an abstract, into the lower end of which is screwed what answers to a vertical jack. The hammer-butt passes through a groove in this jack, and at its right is a regulating button, which was once united by a thread to a straight spring above. The hammer, which is pivoted in this groove, is further brought back to position by a spiral spring attachment. This spring is placed beneath the projecting end of the hammer-butt and connected with it by a bit of skin, into which it is hooked. The hammer-butt is jerked up (and the hammer down) by the abstract and restored to place by the two springs. The pressure is downward on the hammer-head against the resistance of the springs. 19th Century. ]\Iaker unknown. Height, 2 feet "jYz inches. Width, 2 feet ^Yz inches. Depth, i foot lo inches. 274 — IIAXD-BOOK OF KFA'BOARD IXSTRUMEXTS PLATE C X X T T I No. 2766 ■ 275 — Till': .\iK'jR()i'(jLrr.\.\' ml'skl'.m of art No. 2766 Gallery 25 — Central Case GLASSICHORD, same as Plate CXXIII. Second view, enlarged, shnwin"' action beneath the ke\'l:)oard. -276- H.vxi)-r.()( )K ()i- Kl••.^■l;().\kl) jxstrUiMEXts FT. ATE CXXI\- i.iiiiilULULillLILliJIIIJIIIIIIIII ^ No. 2766 Till-: MI"rRO|'()I,lT.\.\ .Ml'SI'.rM Ol" ART No. 2766 Gallery 25 — Central Case GLASSICHORD, same as Plate CXXIII. Third view, enlartjed, snowing the tiers of glass with hammers in position. — 278 — TIAXn-r,0( )K ()|- Kl.\ IK lAUl) IXSI'KIMI'.X'I'S I'LATI'. C \ X V No. 2766 — 279 ■ Tilb: .METRUl'ULlTAX .MLSKLM Ui-" ART NOS. I2IO, I202 Gallery 25 — Central Case 1210. GLOCKEXSPIEL. Compass, two octaves — C to C. A small square walnut case containing tweiit) -five hemispherical gongs which, on press- ing the keys, are struck hy little hammers. Keys, white naturals, with black sharps. Europe. lOth Century. Maker unknown. Length. I foot "'2 inches. \\'iilth, i foot 6 inches. Depth. 10' 2 inches. Drexel Collection. 1202. GLASSICHORD. Compass, three octaves — C to C. A small sqviare walnut case resting on a fancy stand. Ke\ s. white naturals, with lilack sharps. The hammers strike small plates of glass arranged in two rows. I'. .'^. A. 19th Century. Maker unknown. Length, 2 feet 3 inches. \\'idth, I foot 7'. 2 inches. Depth, 8 inches. 2S0 — ii,\.\i)-i;i )()K ui ki;Nr,()Aki) ixstklwiI'.x'I'S PLATE CXX\'I NOS. I2IO (upper), I202 (lower) 281 — Ml' rKM)i'( )i rr.w mtsrum ol- art No. I20I Gallery 25 — Central Case PIAX'O HARAIOXICA. Two views: figure I, case open, showing action ; figure 2, case closed over action. Compass, five octaves, A to A. An oblong walnut case. The hammers strike on metal tongues similar to those used in a musical box. Keys, ivory naturals, with black sharps. England. Late 19th Century. Makers, B. Cramer & Co. Length, 3 feet. Width, i foot 6 inches. Depth. 9 inches. — 282- lA.NI) luniK OF KEYI'.OAKD IXSTRUMl-.XTS r L A T E C X X V 1 1 ' jjUlH i ll i l i V ^^ ""'*■• No. I20I — 283 — \I Musical Accessories 285 . LIST OF ACTIONS 'IIk- fullowinjr Models, with the exception of Xos. 11JJ4 and ,^07 In _^i 16 uiL-lusive, are placed with the instniinents eiiilxidyini^ the acticni which ihcy illustrate. KliVIiOAUI) StKINCEL) IXSTRI'MEXTS, Pl.fCKED. nj2S- .MODl-.I, ()]■• SI'l.XI'.T OK \ IRCIXAL ACTIOX. The key-rail carrying- a jack fitted with a quill or leather plectrum, which, when the key is depressed, rises and plucks the string in passing. For exani])le em- ploying this mechanism see No. 1209, Plates VIII. IX. 1928. MODEL OF HARPSICHORD ACTIOX. The same mechani.sm as that of the spinet. For example see Xo. 1220. Plates XXIll. .XX1\\ 2401. MODEL OF CLAVICYTlll'Rir.M OK UPRIGHT liAKPSI- CHORD ACTIOX. The same mechanism as that of the spinet or harpsi- chord, arranged for an upright model. I-'or example see Xo. 1224, Plates XLl.XLH.' Kevhoard Sirin'ged Lxstkuments, Struck. 1926. MODEL OI-' CLA\I(H( )KD ACTIOX. The string struck hy an ui)right metal tangent inserted in the key-rail. For example emi)loying this mechanisu) see Xo. 1207. Plate XLIX. 3107. .MODl'XOh' CKISTOl'OKl I'lAXO ACTIOX. 1720. This model illustrates the action of the Cristofori Piano .\o. 1219. Plates L. LI. 1927. MODEL OF PIAXO ACTIOX. Primitive \iennese Method. For example employing this mechanism see Xo. 1197. Plates LV, L\ I. 1923. MODEL OF PIANO ACTION. Viennese Method. For example em])lo\ing this mechanism see Xo. 1213, Plate LX. 3108. MODEL OF STEINWAY PIANO ACTION, showing three-quar- ter iron plate w^ith wooden wrestplank. Mrs. JJrown is indebted to the kindness and courtesy of Messrs. Stein way & Sons for the complete set of models showmg the development of their pianoforte, i. e., Nos. 3108- — 287 — THE METROruLITAX MUSEUM OF ART 3ioy. ^roDEL OF STEIXWAY PIANO ACTION, showiii^tr full iron plate covering wrestplank. 31 10. MODEL^OE STEIXWAY I'lAXO ACTIOX. showing modern full iron plate with Capo d'Astro bar. 31 1 1. MODEL OF STEIXWAY GRAND CASE, showing old construc- tion of rim and old method of bracing. 3112. MODEL OF STEINWAY GRAND CASE, showing modern bent rim, modern method of bracing and iron shoe connecting same with plate. 31 13. MODEL OF STEINWAY SOUNDING BOARD, showing bridge and bass bridge. 3114. MODEL OF STEINWAY SOUNDING BOARD, showing ribbing. u,24. MODEL OF REPETITION PIANO ACTION. Steinway Grand. 31 15. MODEL OF CHICKERING PIANO ACTION, showing over- strung frame for square piano. Mrs. Brown is indebted to the kindness and courtesy of Messrs. Chickering & Sons for this and the following model. No. 3116. 3116. :M0DEL OF CHICKERING PIANO ACTION, showing the Chickering system of wooden bracing for grand pianos. Keyf,o.\rd AA'ixd Ixstrumexts. 1922. ENLARGED ^.lODEL OF FREE REED, showing vibrating metal tongue. Presented by Messrs. Mason & Hamlin, Boston. 288- Appendices I. Models Illustrating the Action of the Different Types OF Keyboard Stringed Instruments II. Documents Relating to the Cristofori Piano 289 APPENDIX I MODELS UF AC'TK )X Kl£'l nuAKL) SlKl.NCKU I .\STKl ' M IC.\J S, I'lL'CKED Plate CXXXTII THE SPINET (IK \lR(iINAL In the Spinet or \ irginal there is but one strings to a note, which is sounded bv means of a plectrum fitted into a jack restuig on the key-end. \\'hen the kev is depressed the jack is forced through an opening in the jack-rail, and the plectrum — a bit of crow-quill or leather fitted into a mov- able tongue — plucks the string in passing. When the key is allowed to rise, a spring at the back of the movable tongue enables the jack to return to posi- tion without vibrating the string, which is immediately muted by a cloth damper placed on one side of the plectrum. A strip of wood, placed in the end of the key and working in a groove, keeps it in position. 1. Spinet or Virginal Action. Front of jack showing plectrum (_a), movable tongue (b), and damper (c) in position. 2. Back of jack showing spring (d) which, as the jack returns to posi- tion, allows the plectrum to pass the string without vibration. 3. Showing action of the movable tongue and plectrum as the jack is returning to position after the note has been sounded. 4. Jack (a), in position, resting on balanced key (b). See Model of Action No. 1925. For example illustrating this ])rinciple see Xo. 1209, Plates VIII, IX, pages 29, 31. — 290 — I.WD-P.OOK n|- KI:V1'.().\R1) IXSTRUMENTS ri. A 'I' I'. (• \ X \' I 1 I :b — 291 — Till". METROPOLITAX Ml'SEL'.M OF ART MODELS OF ACTION Kk-iIWIAUD StRIXCED I.VSTIU'.MKNTS, PlUCKED. ( CONTINUED.) Pl.\te CXXIX the harpsichord Tlie action of the Harpsichord is identical with that of the Spinet or \'ir,s;inal. except that the latter has but one string to a note, while the Harpsi- chord has two, three, and sometimes more strings to one note, thereby pro- ducing greater vohnne and variety of tone. 1. Harpsichord Action. Key (a) supporting jacks {h), which i)ass through key-rail (c). See Model of Action No. 1928. For exanii)le illustrating this principle see No. 1220, Plates XXHI, XXIV, pages 67, 6y. 2. Clavicytherium or Upright Harpsichord Action. Into the back end of the key (a) is fixed an upright rod (b) to which the jacks (c) are fastened vertically. When the key is depressed the jacks move forward through the jack-rail and pluck the strings as the key rises and the jack returns to position. See Model of Action No. 2401. For example illustrating this principle see No. 1224, Plates XLI, XLII, pages 103. 105. — 292 — IIAXD-i'.ooK OF KE-YBOARI) IXSTRUMEXTS PLATE C X X T X — 203 Till'. MKTROI'OLITAX Ml'SKL'.M OF ART MODELS OF ACTION Kr.vr.oARi) Stkinoed Instri'.ments, Struck Plate CXXX the c[.a\'iciiord In the Clavichord the note is produced by means of a tangent, a slender upright of wood or metal fastened to the key. When the key is depressed the tangent rises and strikes its strings, a pair in unison ( in rare instances a single string) and being held there, divides them into two vibrating parts. The longer part sounds the note, the shorter is muted by a strip of cloth inter- woven among the strings. In the earlier clavichords there were often more keys than strings, one pair of unisons being struck by several tangents at different points sounding three or more notes. To produce several notes from one string it is only necessary to vary its vibrating length : when short- ened it produces tones of a higher pitch and vice versa. Thus a tangent striking a string at a given point may sound C and a second tangent striking it a trifle nearer the bridge a note a semi-tone higher ; while a third tangent striking the same string at a point still nearer the bridge may sound a note an octave higher, more or less as may be desired. This principle of several tangents striking one string being suggestive of a monochord, from which instrument the clavichord developed, gave rise to the term " gebunden " or " fretted." About the year 1720 the " bundfrei " or " unfretted " clavi- chord was introduced by Daniel Faber of Crailsheim, Saxony, in which each tangent has its own pair of unison strings. 1. Clavichord Action — " Gclnttuicn" wherein two or more tangents strike the same pair of unison strings. Tangent (a) fastened to key (b) striking strings (c). damper (d). See Model of Action No. 1926. For example illustrating the " gebun- den " or " fretted " principle, i. e., where there are more keys than strings, see Xo. 1215, Plates XLVII. XLVIII, pages 117. 119. 2. Clavichord Action — "Bundfrei " wherein each key tangent has its own pair of unison strings. The " bundfrei " or " fret-free " principle is illustrated by Xo. 1207. Plate XLIX, page 121. — 294 — II \\1)-I'.0< )K t'l- Kr.YlUVVRl) IXSTRL'Ml-.XTS i" L A V E (-■ X X X \^ ,,,,,,,r,, ,,^W h rrrr'''^rm;7^ — 295- Till-: Mi'.TKc )r()i.rrAX .xirsia/.M of art MODELS OF ACTION Ki:vr.c)AKi) Stuixc.kd Ixstuuments, Stritk. — (CoxTixfKn.") I'l.ATU CXXXl THE PIANO ]n tlic liarpsiclinrd ami tin- claviclmrd we find the koy snppnrtinq; in the former a " jack " carrying a quill or plectrum, in the latter a " tangent," each of which, when the key is depressed, is 1)rought into direct contact with the string; the one producing the note by "plucking" and the other by " striking " the string. About the year 1709, however, Bartoloinmeo Cristofori, the Paduan harpsichord maker, introduced an action in which the quill or plectrum and the tangent were supplanted by a hammer ; this, when the ke}' was depressed, was brought into contact with a small lever which in turn raised a second lever, and the principle here introduced still fnniis the basis on which the actions of all modern pianos are built. There are two pianos by Cristofori, known to be authentic, still extant (Grove's Dictionary. A'ol. II.. p. 711, also Hipkins' "History of the Pianoforte," p. 97) : the earlier, dated 1720, forms a part of this collection (Xo. 12 19, Plates L. LIA. the later, dated 1726, is in the Kraus Collection at Florence, Italy. 1. The Cristofori Action, c. 1709. This diagram shows the action as first introduced. The " jack " 1 which in the harjjsichord carries the movable tongue and plectrum) here apjiears in a modified fnrni and receives the name of " hopper." because, as it acts upon the hamnier-biut, it " hops '" forward and back. The action is as follows : " a-a. the string; b, key bottom ; c. key ; d, cushion on key ; e, tipper lever ; f, center-pin of upper lever; q, end of Ifver. bearing (under) damper on r. standard ; p, p, crossed threads forming hammer-rest ; o, hammer ; I. i. regu- lating springs of g, g, ho]iper. strung on wire h, h ; m, hammer-bar, in w hich turns hammer-butt n." — " .\ Xoble Art." J'anny Morris Siuith. p. 19. 2. The Cristofori Action, 1720. The diagram shows the action of the earlier of the two specimens, the original wooden hammers having been re- placed by those of modern shape. Mr. Hipkins, in his " History of the Pianoforte," p. 98, describes this action as follows ; " a, is the key ; b, the hopper ( liiigiictta iiiobih" — movable tongue, Cristo- fori called it), c, the notch for the hopper beneath an undcr-hammer or escapement lever, lettered k. This lever, covered with leather upon the end, is to raise the hammer-butt, d. The hammer-head is e. The spring i, regulating the play of the hopper or distance between it and the string, is regulated by a small hopper-check, h. The harumer-check is f, the damper g. The damper-stop j." See Model of Action, Xo. 3107. 2l)fi — iiAxn-i'.ooK OF KF.vr.oARn I^•STR^^^K^■TS A T !•: c X x X I ■ 297- TiiK ^il"^R()l•(n.^^A\■ Misia'M < )i- art MODELS ( )!•' ACTK )X Kj;\i',(i,\i;i> Siui xcicd I xstkc-n!1--.\ts, Stkuck. — ( C()XTi.\rKn.) Platk fXXXlI THE I'lAXO 3. The Zumpe Actiox. 1760-65. The invention of Johannes Ziimpe. a German in the employ of Shnih, the harpsichord maker. Znnipe was the tirst to construct a square piano, the earhest specimen of his work on record Jjeing; dated 1766. (irove"s description of the Zumpe action, Dictionary, \"oI. II, p. 715, is as follows : ■■ In the key c, is fi.xed the jack g, a wire with a leather stud on the top. known by the workmen as the ' old man's head.' This raises the hammer o; the damper, r, is lifted by a whalebone jack, v, called the " mopstick,' placed near the end of the key, and is brought l.iack to its place by the whalebone spring, w ; a third piece of whalelione, x, ]M-ojecting from the end of the key, works in a groove, and serves exactly as in the clavichord, to keep the key steady, there being no front key-pin. The two balance-rail key-pins shown in the drawing belong" to two keys, the natural and sharp, and indicate the different balancing desiderated in all keyboards by the dift'erent lengths of the natural and sharp keys. The dampers were divided into treble and bass sections, raised bodily by two drawstops when not required, there being as yet no pedal." For example illustrating this principle see Xo. 2965, Plate LIT, page 127. 4. The English Action (E.\rlv Broadwood), 1777. This improve- ment on the Cristofori action was made by Amcricus Backers, a Dutchman, and perfected by John Broadwood and his apprentice Robert Stodart ; the principal feature of the improvement was the introduction of the regulating button and screw which insured direct action. 5. The Broadwood Grand Action. 1880. From Grove's Dictionary, \'ol. II, p. 716, we quote the following reference to these actions : " The difference in the two cases are in the proportions and form of the parts ; the principle is the same in both, the onl)- addition in the present action — and that not essential — being a strip of felt beneath the butt of the hammer, to assist the promptness of the checking. The differences of both from that of Cristofori are evident and important. The second lever or under hammer is done away with, and the jack, g, now acts directly in a notch of the butt, n. The regulating button and screw controlling the escapement are at gg. Simplicity and security are combined." — 298 — iiAxi) IK X )K ()!•■ Kl■:^■l;( jaki) ixsi urMi'.x rs I'LATI'. CX XXII ^T^ ■ ^yy Till'. .MI':TK()1'()LIT.\.\ ML'SElAl UF ART MoDI'J.S ()!• ACriO.V Kevuuakii S ri^i M.icu 1 .\siru.mi;xt.s. Siiu'ck. — ( Cu.\tixim-:l).) Plate CXXXIII TIIK I'lA.VU 6. l'Rnirri\E ^*IF.NNESE Action, witlmut cscapenicnt. Dra\viii,q- fmni Model of Actiun uf Xo. 1 197, I'lates L\', L\ J. This action is similar to that found in nian\' German pianos prior to the introdtiction of Stein's escape- ment in 1777, and may be the invention of Cliristian Enist Frederici of Gera, Saxony, although there is some doubt on this point. — History of the Piano- forte, p. 105. 1!\- the depression of the key (c), the hammer-butt (d) is raised until it conies in contact with a rail (g) at the liack of the keyboard, which results in jerking the hammer ( o) U> the string (a). When the key rises the string is muted by damper { r ) . The pedal attachment ( m-m ) in this model is of crude workmanship and apjiarently formed no part of the instrument as originally constructed. 7. Primitin'e Escapement. 1777-17S0. Johann Andreas Stein uf Augsburg. Key (c) : ausloser or hopper (g) ; hammer (0). 8. Imtrox'ed A^iennese Action, c. 1802. Andreas Streicher and Nan- nette Stein. Key (c) ; hopper (g) hammer (o) ; hammer-check (p) ; damper (r). From Grove's Dictionary (Vol. II, p. 717) we (juole the following refer- ence to these actions (Figs. 7-8). " It will be observed that this escapement ( l'"ig. 7) differs from Cristofori's and the English Action in the fact that the a.xis of the hammer changes its position with the rising of the key, the hopper — ausloser — (g) becoming a fixture at the back of the key. From this dif- ference a radical change of touch took place and an extreme lightness be- came the characteristic of the \'ieiinese action as developed by Andreas Streicher." (Fig. 8.) For example illustrating the ini])ruved \'iennese Action see N'o. 1213. Plate LX, page 143. • 300 - iiAXi)-i;( H )K ( )i" Ki';vD( ).\Ki) i.\strl;.\ii:xts A r R C X X X r^ A ■ 301 - THE METK(Jl'OLlTAx\ MUSEL'.M (_)[• ART :\iUDELS OF ACTION Kevuuaku Stringed Lxstruments, Struck. — { Coa'tixued.) Plate CXXXIV the piano 9. Repetition Action, Stein way Grand Piano. In the Steinway Grand we have the piano action in its latest stage of development, the wooden frame having been superseded by one of metal, a system of compound levers developed to its highest point of lightness and velocity, the brilliance of tone assured by rapidity of action. The key (c) carries the jack (a) which works in a slot (x) in the bal- ancier (e). The balancier flange (g) ; motive flange (h) : hammer flange (i) ; regulating button for balancier (f) hammer shank f d) ; regulating but- ton of hammer shank (h) ; escapement button (m) ; hammer head (o) : tail of hammer (k) ; back check (p) ; jack cushion (n). ■302- ii.wD-i'.ooK oi" Kl■;^■|'.( »ARi) ixsrurMiiX'i'S I. ATI'. CXXXiV 303 — ■ APPENDIX 11 ])( K I'M i:\TS KI-;i.A riX'C; to TIIF. tklSTOEDRI PIANO Thc'followin.o; dociiiiieiUs have interest as bearing on the authenticity of the Cristofori 1 'iano. The first is a statement by Signor Diego Martelh, the last owner, from whom tlie instrument was purchased ; the second is a permit granted his mother by the National jMuscum of Florence to visit her piano during the time when it was temporarily on exhibition ; the third is an af- fidavit of Giorgio Ceccherini, an expert in musical instruments, by whom the piano was examined prior to its transfer. I. Statement of Signor Diego Martelli concerning the Cristofori Piano: " Florence, ltal\-, Nov. 2y\, 1895. " This piano was bought by my maternal grandfather, Dr. F'abio Mocenni. years ago, when my mother was about five years old. My mother was born in 1814, and her father must have acquired the piano between 1819 and 1820. It remained always in my grandfather's house until his daughter married my father (the Engineer, Charles Martelli j. Then she brought that piano into my family and always preserved it, not because of its great value, as she knew nothing of it until ver}- lately, but in memory of her dead father, and because on that piano, when still a child, she learned the first rudiments of music. My mother, by family tradition, knew that this piano had been pur- chased by her father at a public sale which took place in the Grand Ducal Palace, in Siena, by order of the Minister of the Household, of all such things as he considered as worthless and of no use. The discovery that this piano is very valuable was as follows : " For the sake of economy during the time that Florence was the Capital of Italy, we rented the first floor of our house, No. 3 Via del ^lelarancio, and occupied the second floor. In 1872, .Signora Martelli (my mother) again changed her apartments from the second to the first floor, and at the moment the transfer of our furnilure was taking jilace from one floor to the other, Prof. Cosimo Conti. a scholar and an intimate friend of ours, came to visit us. The professor was in close correspondence with Cavaliere L. Puliti, who was spending a great deal of his time in trying to discover the origin of tlie piano, and discovered on it. to his great surprise, an inscription which •305 — THE METRO POLITAX MUSEUM OF Ak attested that it had been made by Bartolomeo de Crisloforis. He immediately informed liis friend, Cavahere L. I'uliti, of this fact, and he came at once to examine it. Then it was ascertained that it was one of the rarest and most vahiable pianos in existence. We at once sent for a tuner and had it put in good condition, and the most distinguished pianists of Italy liave since ])layed on it. " Cavaliere L. Puhti pubHshed a l)0ok on the life of Ferdinando de Medici, Grand Duke of Tuscany, and in it he treated of the origin of the piano. In this learned book, at page 31, he mentions the piano in possession of my mother (Signora ]\lartelli), which is now your property. ■' In 1876, Signor Cesare Ponsicchi published a work entitled ' The Piano: Its Origin and Evolution.' In his monograph. Signor Pongicchi, at pages 26 and 27, speaks at length of this piano and illustrates it at the end of the volume. "I believe that the above information will satisfy your legitimate curi- osity, and by indicating to you the above published works to which you may refer for more detailed information, I have complied with your wishes in the matter. " I remain, very truly. (Signed) " DIEGO MARTELLI, " Only son and heir of Erncsta Mocenni, \M(iow Martelli." The two books referred to in the above account. " The Life of Ferdi- nando de Medici, Grand Duke of Tuscany," by Cavaliere L. Puliti, and " Tin- Piano : Its Origin and Evolution," by Cesare Pongicchi, are now out of priiU. and it is impossible to obtain them. Through the courtesy of Signor Martelli. the Aluseum was enabled to purchase his own copies, and these, together with the cofra in which he kept them, are now in the library. TI. Translation of permit to visit the National Museiun of Florence at any time, granted to Signora Martelli. who loaned Jier Cristofori Pianoforte In the Museum : " Xalional Museum of Florence. " Florence, Sept. 9th. 1883. " The noble lady Ernesta Martelli, licing the owner of the old Pianoforte De Cristoforis. loaned by her to the National Museum of Florence, is granted permission to enter the museum at any time she may wish to see the condition of lier Pianoforte. (Signed) " The Director. " C. DONATT." — 3 of) II WD-l'.ooK ()|- Kii^BOAKD 1 XSTkr M I'.XTS III. Copy of afiid.ivit of Gic)rg^io CcccluTini rctjaiiiiii!; his ixainiiiatiini, etc.. of the C'ristnfori I'iannfdrte : ■" Kiiisdoni (if hah'. | " C ity ot j-lnrcncc, ) " 1. ( iiorj^id C occherini, of the firm of (1. & C. C'ecchcrini, dcak-rs in pianns am! musical instruments, successors to Messrs. Dussi. estaljjished in the _\ear cijjhtecn hunchTd and tliirty-four. in iJ'e City of h'loreiice. Kingdom of Italy, examined, in the months of May and June, eighteen hundred and ninety-five, at various times, an ancient piano, the original i^roduction of the late " Cristo- fori," the hest manufacturer of ])ianos in the early ])art of the eighteintli centurv, said Cristofori having heen the inventor of jjianos. " I do solemnly, sincerelv and trulv declare that 1 am an e.\])erl in the line of musical instruments, and that the aforementioned piano commands a ])rice of a rare piece of antiquity, and as such was sold to Mrs. John Crosby I'rown. of New York. Cnited .States of America. I do finally, solemnly, sincerely and truly declare to the hest of my knowledge and recollection, that the piano aforesaid was bought for presentation to a Musenni in \ew 'S'ork. ■' I'"lorcnce, Januar\- |-th. A. D. i8r)6. (Signed) ■■ (,|(")R(,1( ) CI-',C(,III-;R1.\'1. |i..s.]" " I I..S. I .Subscribed and swdrn to ibis 171I1 da\ nl (aniiar\ . iSijd, before ine, (Signed) ■■ C. r.l-:i.M( )\T l)\\ IS. " Cnitetl States Consul at I'lorence, ItaK'." — 307 — Indices Index of Proper Names General Index 3oy — INDEX I' R O P i: R NAMES Albrecht. Cliarles iSj Astor, George 1 50 Bach 16. 1 JO Beethoven . 1 4J Bellot. Louis 84 Bereio. Joannes. Antonins j_> Bie. Oscar 15 Bonafinis. Franciscus 32 Boulon 250 Broadwood & Sons, John 156. 160 Brock, Hermans J54 Bull 15 Burnry 18 Byrd 15 Chapman. Thomas J40 Chickering J87 Christophoris. Bartolomaeus de (Cris- tofori, Bartolommeo di Francesco). 1(1. 18, 19. 122. -'87 Clementi & CoUard 144. 164 Clementi Muzio ib4 Couchet. Joannes (Jean ) 18. 88 Cramer & Co 2S2 Crehore, Benjamin 186 Uietz. Christian 106 Dohiictsch. Arnold 42 Domcnico di Pesam ( Oomenicus Pc- saurensis ) ih. j8 Kngel, Carl 254 F,rard Freres & C'n 176 Evenden & Sons 17J l'"abcr, Nicholas 14 Ferrini. Joannes 18. (jO Fetis 12O Frederick the Great 19 l''riederici 298 Galpin, Rev. ¥. W jjj Gcihs. John 164. 258 Gibbons, Orhmdo 16 Gray, TItomas 126 Grove, George 19, 122 Grovvehis, Ludovicns 17, 42 Ciuido d'Arczzo 14 I hirt & Sons, S 202 Hauslais, Lanrentius 218 Haward, Charles (Carolns ) .... 17. 50, 52 Hawkins 19. 206 Hipkins, A. ] 11, 13 Hitchcock, Thomas 17. 52, 54 Jesse, John Christopher 120 Kirkman, Jacobns & Abraham 78 Kratis, .Mexander 92 Lang, Carl 136 Leftel. F. T 270 Leoni, Jo. Panlus 76 Liszt. Franz 176 Longman & Broderip 144, 11)4, 258 Lcitid Bros 192 310 — INDEX pr()1'1-:r \".\mi:s \ Mason & Hamlin 287 Mason, Rev. VVni 126 Mcrscnnc 98 Meyer. Conrad IQO Mozart 142 Mussard 198 Stein : Andre (Malthans Andreas) 142 John Andreas 138, 142 Steincrt. Morris 17. 42 Stcinway 302 Slodart, \V. W lC)6 Packard. Calel) 250 Pepys 17 Pet— (?), Eaton.' 258 Praetorius 15. 17, 24, 98 Tallman, John 196 Trasontinns. .'Mcx 112 Tschiuh •••• 156 Raffacllo d'Urhino 18 RoUig, Angust 200 Ruckers : Cristofel i/. 40 Jean 18, 88 Hans 18. 42 Vander Becst !/• 42 Vattcr, Anton 138 Volhini, Fredcrico 92 X'oll. U-nrg 212 Western. Thomas 152 Shiidi (Tschndi) 156 Silberniann I9 Zentis. Jerome de 62, 66 Sodi, Vincentius 9-2 Znmpc, Johaimes 126, 152 •3" II GENERAL INDEX Actions, Models of. See Models. Aeolian Harp I4 Appendices 289 Bible Regal 14,-12. 214, 216, 232 Box Piano 200 Bundfrei 116. 1 18, 120 Cabinet Organ 218, 220. 222. 2J4. 230 With Removable Spinet 218, 220, 222, 224 Chamber Organ 240. 242, 244 Check 19 Clavecin 15, 58, 144 Clavecin Buffet 102 Clavicembalo (Clavicembali) 15 Clavicembalo Verticale. . .98, 100. 102, 104 Clavichord. . II, 12, 14, 15, 16, 17, 19, 24, 112, 114, 116, 118, 287 Clavicytherium 17. 287 Claviharp 106 Claviola 19, 206 Claviorganum 254, 256 Concertina 15 Double Harpsichord 18 Double Spinet or Virginal 17, 42, 44 Drawings illustrating Piano Actions. . 290 Drone 15 Dulcimer 11. 1 10 Escapement 19 English Post-Restoration Model, 17, 24, 52 Gebunden 16, n6, 118 Geibs Hopper Action 164, 258 Genouilleres 138 Glassichord. .. .270, 272, 274, 276, 278, 280 Glockenspiel 280 Gravicembalo col Piano e Forte..,. 16 Guide's Hexachord System 14 Halberstadt Organ, The 14 Hammer ig Hand Stops 18 Harmoniflute 250 Harmoniphon 252 Harmonium 11, 12, 246, 266 Harpichordum 58 Harpsichord. .11, 12, 15, 16, 17, 18, 19, 58, 60, 62, 64, 66, 68, 70, 72, 74, 76, 78, 80, 82, 84, 86, 88, 90, 92, 94, 96, 98, 100, 102, 104, 254, 287 Double-banked 18 Triple-banked 17 Upright 17, 98. too, 102, 287 Hexachord System, Guido's 14 Hurdy Gurdy 13, 14 Hydraulic Organ 13 Hydraulikon 14 Introduction 13 Iron Frame 19, 287 Jacks 19 Key Modes 14 Keyboard Instruments, Plucked (Sec- tional Heading) 21 Keyboard Instruments, Struck (Sec- tional Heading ) 109 Keyboard Instruments, Bowed (Sec- tional Heading) 205 Keyboard Wind In.struments (Sec- tional Heading) 211 Knee Levers 138 — 312 — GENERAL IXI^EX l.lllc 13 Mflodcon 248, 250, 252 Rocking 250 Portable 252 Models of Action. . 11. 19, 287, 290, 292, 294, 206. 2q8. .100. ,102 Monochonl 14 Octave Spinet 17, 4(1. 48 Octave Virginal 46 Organ.. 1 1, 12, 13, 14, 15,212,214,216,218, 220, 222, 224, 226, 228, 230, 232, 234, 236, 238, 240, 242, 244, 254, 256, 258, 260, 262, 266 Bible Regal.. .14. 212, 214, 216, 232, 234 Book 234, 236, 238 Cabinet 218, 220, 222, 224, 230 Chamber 240, 242 244 Halberstadt 14 Hydraulic 13 Mildenberg 15 Portative 15. ^^6 Positive 15. 228 Regal 212. 214, 216 St. Blaise 15 St. Egidius 15 St. Salvator 15 Water 13 With Removable Spinet, 218, 220, 2Z2. 224 Organo Piano 262, 264, 266 Organ Pipes 13, 14 Orphica 200 Ottavina 17 Pianino 180 Piano.. II. 12, 122, 124, 126, 128, 130,132, 134. 136, 138. 140, 14^. 144. 146. 148. 150, 152, 154, 156, 158, 160, 162. 164, 166. t68, 170. 172, 174, 176. 178, 180. 182. 184. 186. 188, 190 192, 194. 196. 254, 258. 287 Box 200 Harmonica 282 Organo 262, 264. 266 Portable 144, 146. 148 VVor'kbox . . ■. 202 Pianoforte 16, 18, 19 Upright 19, 160, 162, 166, 168. 170 Piano Harp 198 Plectrum (Plectra) 15. 19 i'lenius' Svifell 16 Plucked Strings (Sectional Heading). 21 Point d'orgue 15 Portable Melodeon 252 Portable Piano 144, 146, 148 Portative Organ 15, 226 Positive Organ 15, 18 Prefatory Note II Psaltery 11.12, 15 Regal 14, 212, 214, 216. 232, 234 Registers 15, 18 Rocking Melodeon 250 St. Blaise Organ, The 15 St. Egidius Organ. The 15 St. Salvator Organ, The 15 Scraphine 246 Sonorous Instruments 11,. 12 Sonorous Instruments (Sectional Heading) 269 Upright Harpsichord. .17. 98, 100. 102, 287 Upright Pianoforte 19, 160, 162, 166, 168. 170 \'enetian Swell, Shudi's. 16 Violin 13 Virginal. . . 11, 12, 15, 16, 17, 24. 26, 32. 34. 36. 38, 40. 42, 44, 46 Double 42, 44 Octave 46 Water Organ 13 Wrest Pins 17, 26, 52, 56 Wind Instruments (Sectional Head- ing) 2TI Workbox Piano 202 — 313- 67a SI FOR READING ROOM ONLY UNIVERSITY OF CALIFORNIA LIBRARY LcAngelet ^fQy 2 9 lO^fi This book is DUE on the last date stamped below. NGN GiRC wo/v cm £Oh !\,.'^U I.U MUUPJ UCLA - Music Library ML 462 N4M5C L 006 994 921 2 MUSIC ^-^^A LIBRARY. ■ ML UC SOUTHERN REGIONAL LIBRARY FACILITY (P KEAWNG KOUM OMLt I i 4