a well-known modern instrument, in which the immediate sonorous bodies are wires of brass and steel. It has completely usurped the place of the old harpsichord, upon which it is a great improvement. Of late it has undergone many modifications, which are too numerous to be noticed here. The merit of its invention is disputed by the Italians and the Germans. Count G. R. Carli, in his works printed at Milan in 1784-1794, states (in vol. xiv. p. 405), that the piano-forte was invented in 1718, by Bartolommeo Cristofori of Padua, during his stay in Florence. The count speaks indignantly of the forgetfulness of the Italians regarding their own inventions: "Della quale invenzione ci siamo scordati a segno, che Fabbriam creduta una nuova cosa, allorché ci venne dalla Germania e dall' Inghilterra, accogliendola come una singolare produzione di quelle felici regioni, destinate ad illuminare con i lumi presi dagl' Italiani." On the other hand, the Germans assert that it was invented about the year 1717, by C. A. Schreiter, a German organist, and that it was afterwards improved by Silbermann, G. A. Stein, and others. The English makers have, of late years, gained great repute by their excellent piano-fortes. Amongst the best may be mentioned those made by the Broadwoods, and by Clementi, Erard, and Collard. Those of Broadwood are distinguished by a rich soft tone, well suited for accompanying the voice. Erard's possess a more powerful and brilliant tone, and are better suited for the public performer of piano-forte sonatas, concertos, &c. The horizontal piano-fortes are those most used, as being the best. The origin of the vertical piano-forte may be found in Pére Mersenne's Harmonicorum libri xii. 1632, folio; in which there is an engraving of a similarly formed instrument of an ancient date. We consider the modern extreme extension of the compass of the piano-forte, both grave and acute, as detrimental to the best effects of the instrument. On this subject, and as to the true powers of the piano-forte, see the article Music, vol. xv. pp. 644, 645. An Italian writer informs us, that in the beginning of the present century he had played upon many piano-fortes of a compass of six octaves and a half, made by Antonio Gherardi of Parma.