Cl.ASS Xa.'

rrAxoroirn-s by ebabd, collabd and collabd, Ac.

luuidred and seventy-three. Besides these there arenumerous persons working at home for the same firm.

It is clear that for many years the pianoforte wasinferior to the harpsichord; for when, in 1705, Burk-havdt Tschudi presented an instrument to the King ofPrussia , it was a harpsichord with two rows of keys.This instrument is still at Potsdam. The strings of theharpsichord being very thin, the wooden framiug of theease sufficed to bear the tension. As soon as the stringsof the pianoforte were increased in thickness it becamenecessary to strengthen the cases, and steel arches , there-fore, were introduced between the strings. So early asISOS, Messrs. Broadwood applied horizontal steel barsover the strings. The number of these burs varied fromtwo to seven.

Messrs. Stodart, in 1820, patented a system of bracing bymeans o iholloic metal tension bars applied over the strings,combined with a suspension bar over the wrest-plank.

In 1824, Mr. Erard patented a somewhat differentsystem of horizontal metal bracing.

In 1827, Messrs. Broadwood patented a third system ofmetal bracing for the grand pianoforte. It was a combi-nation of the metal bars already adopted by them, withthe metal string-plate which had by them been first ap-plied to the square pianoforte in 1822. The four piano-fortes which have been exhibited by this firm, may bedescribed, as to externals, as follows:—

1. A grand pianoforte in the Nave, ebony case richlycarved and gilt; the top, ebony inlaid with satin-wood;above each of the three legs is a medallion, carved amigilt, having busts of Ilandel, Mozart, and Beethoven .The design by E. M. Barry, Esq. 2. A grand pianofortein Amboyna-wood case, with can ing. 3. A grand piano-forte in p*lain Amboyna-wood. 4. A grand pianoforte inItalian walnut-weed case.

Of these four seven-octaves, C to G, grand pianofortes,two have each three straight tension-bars parallel to andover the strings. Of the other two, one has one parallelbar and one long oblique bar: the other has one parallelbar and two oblique bars. The scale of this latter instru-ment may be considered as a triangle of unequal sides,divided by these three bars into four triangles. This in-strument is the most sonorous of the four. In all thefour pianofortes any bending of the wrest-planks is ob-viated by the application of a metal transverse suspensionbar, placed over and nearly in a line with the studs. Thepeculiar application of this suspension-bar is consideredas an essential improvement. The tension-bars are alsonew, and entirely peculiar to these instruments, beingconstructed with flanges on each side to prevent twisting.A section of these bars transversely would present thefigure of a cross -f. The strain of the strings on theseinstruments is immense, notwithstanding which theystand in tunc far better than those constructed with theordinary bracing. In the four pianofortes exhibited, thefollowing improvements are illustrated, and are claimedby Messrs. Broadwood as being entirely their own :—

1st. A newly-revised harmonic scale of strings.

2nd. A peculiar method of fixing the sounding-board.

3rd. The transverse metal suspension-bar. (It supportsthe wrest-plank, enabling the maker to dispense with se-veral direct tension-bars, which are just so many impedi-ments to free vibration.)

4th. The construction of the tension-bars. These areconstructed in such a manner as to combine the maximumof strength with the minimum of weight.

5th. The fixing these tension-bars in the string-plateby means of wedges, thus insuring equal tension.

Gth. The diagonal tension-bars. These abut againstthe strongest angle of the wrest-plank and bass side.They meet effectually what is commonly termed the“side-swag” of the string-plate, and they er.al le themaker to do with a single direct tension-bar.

The whole of the above-named six novelties of inven-tion are dated by Messrs. Broadwood in the year 1847.

It is by the combination of most of the improvementsjust mentioned that this firm lias attained, in their piano-fortes, not only more sonorous tones, but a greater perfec-tion of the quality of tone. Again, there can be no doubtbut that simplification of bracing, in the construrticii of

pianofortes, ■will eventual!if enable the public to obtainfirst-rate instruments at a comparatively moderate price.Ami it is proper to record that, up to this time, the aim ofmost makers lias been to introduce as much iron or othermetal bracing as safety to the quality of tone would bear,and that Messrs. Broadwood are now the first to retracesuch steps, learning from experience that tension-bars arcbut make-shifts, and that it is probable that the best modeof constructing a pianoforte would be to strengthen thecase by other means, superseding the tension-bars alto-gether.

It should also be noticed that the action used by Messrs.Broadwood in their pianofortes is of the most simple andeffective kind, ami that its very simplicity is a guaranteefor its durability.

Mr. P. Erard has exhibited a variety of pianofortes inthe British and French Departments, hi these pianofortesconsiderable improvements have been made with regardto the mechanical part of the action, which lias becomeone of the most perfect existing,— answering the purposesof the most intricate manual dexterity of the performersof modern times. This maker combines with his im-proved mechanical action a peculiar structure of the bodyof the pianoforte, by which a highly-suecessful result isattained.

Various patented improvements in the mechanism, See.,of pianofortes, are displayed in the instruments exhibitedby Mr. Erard, of which the following is a description:—

British Department. — 1. Extra grand pianoforte, inwalnut-wood, with carvings gilt; seven octaves, A to A ;with Erard’s patent repetition action (1821); patent up-bearing (1809); complete system of metallic bracing(1825;; and other improvements (1850). See descriptionin remarks.— 2. Extra grand piano (1850), with pedalkeys.—3. Extra grand piano, with new patent metalwrest-plank (1S5U).— 4. A short grand, six and three-quarters octaves, new scale, C to A; in a rose-wood ease,with nullings.— 5. Extra grand walnut, oblique, withcarvings in the Elizabethan style; seven octaves, A to A;braced with four metallic bars (1850). Action patented(1840).—f». The same, in ebony, inlaid with silver (repe-tition action); also braced with four metallic bars (1850).—7. Satin-wood; six ami three-quarters; oblique. Patentof 1840.—8. A new patent frame, with new screws,tuning apparatus for upright pianofortes; the samehaving been specified in the patent for horizontal piano-fortes.

French Department. —1. Extra grand pianoforte, intulip-wood case, inlaid with silver lands, tortoiseshell,and brass, elaborately engraved, supported by six carya-tides, in the most rich and elegant style; seven octaves,A to A. Patents of 1809, 1821, 1825, and 1800.—2. Extra grand pianoforte in rosewood, with or-molu orna-ments; seven octaves, A to A.—3. Short, or semi-grand,with repetition action (1809); six and three-quarters oc-taves, C to A.— 4. Grand square pianoforte, of a newform, with repetition action (1821), metal bracing (1825',upward bearing (1809), on the principle of Erard’s grand;six and three-quarters octaves, C to A.— 5. Grand obliqueof seven octaves, braced with four metallic bars. Patentsot 1840 and 1850.—G. Oblique rosewood, with or-molumouldings: six and three-quarters octaves, C to A. Pa-tent of 1840.

Messrs. Colt.ari> and Corlard have exhibited severalpianofortes, of which the following is a description :—

1. A grand pianoforte, in a case of British mottled oak,with carved and gilt ornaments, in the style of Louis XA’.;seven octaves, A to A.— 2. A grand pianoforte in rosewoodcase, with carved cabriole truss supporters: seven cetaves,

A to A.—3. A square semi-grand pianoforte, in walnut-wood; six and three-quarters octaves.— 4. A grand ca-binet pianoforte, in a case of British oak. of noveldesign; six and three-quarters octaves.—5. Two micro-ehordons, or semi-cottage pianofortes, in pine and rose-wood cases; six and tnroo-qnaiters octaves. Exhibitedas specimens of superior instruments of their class, atvery low prices.

In the above-named instruments the following patentedimprovements are illustrated :—