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. 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 Bartolomeo Cristofori of Padua, during his stay in Florence. The count speaks indignantly of the forgetfulness of the Italians regarding their own inventions:—"Della quale inventione ci siamo scordati a segno, che l'abbiam creduta una nuova cosa, allorché ci venne dalla Germania e dall'Inghilterra, scogliendola come una singolare produzione di quelle felici regioni, destinate ad illuminarci 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. To the Rev. William Mason, the English poet, is ascribed the important improvement of detaching the hammer entirely from the key, and giving to them only a momentary connection when the key is struck by the finger. The English makers have gained great repute by their excellent piano-fortes. 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 Père 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 pianoforte, see the article Music, vol. xv., pp. 740-741.) 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.

We quote the following interesting remarks by Mr Thalberg, which were printed in the reports by the juries of the Exhibition of 1851, pp. 326-329:—"To give an idea of the degree of perfection attained at the present day in the construction of the piano, we will describe one of the grand pianos in the Exhibition. This instrument is 8½ feet in length, and 4½ feet in its greatest width; its frame is of enormous strength compared with the instruments of former times, being heavily braced with wood below the strings, having a complete system of metallic bracing above the strings firmly abutted, and consisting of longitudinal bars let into metal at each end, and having the curved side formed of a number of separate pieces glued together in a mould, to insure durability and fixedness of form. Its sounding-board extends to the frame on all sides, except the space left for the action. The strings are made entirely of steel, and of wire so thick that the tension necessary to bring them to the proper pitch produces an aggregate strain equal to at least 12 tons weight, while they are passed through studs drilled into the metal-wrest plank, thus giving the strings an upbringing position, which prevents the slightest displacement of the point of contact by any force of the hammers; and the system of placing the strings on the instrument, determined by accurate acoustic experiment, causes them to be struck by the hammer at that precise nodical point which produces the freest and clearest tone. The compass is extended to seven octaves from A to A. The action of this piano is described by Dr Lardner, in a work just published on Mechanics, as a beautiful example of complex leverage in the mechanism which connects the key and hammer. In this instrument the object is, to convey from the point where the fingers act upon the key to that at which the hammer acts upon the string, all the delicacy of action of the finger; so that the piano may participate to a certain extent in that sensibility of touch which is observable in the harp, and which is the consequence of the finger acting immediately on the string in that instrument, without the intervention of any other mechanism. The power of this instrument, depending on the quantity of matter brought into vibration; the resonance, or the perfection of that vibration, depending on the correct proportions of its parts; and the accuracy of intonation, depending on the nature of the bridging, the proportions of the strings, and their arrangement with regard to the blow of the hammer,—are all most admirable; while the action, depending on the peculiar mechanism employed, far surpasses everything else of the kind, for it enables the player to communicate to the strings all that the finest-formed and most skilful hand can express; and becomes as it were a part of himself, reflecting every shade of his feelings from the most powerful to the softest and most delicate sounds. This action is indeed so perfect, particularly in its power of delicate repetition, that if any note is missed in execution upon it, it is the fault of the player and not of the instrument. Many persons have a very meagre notion of the power of expression possessed by the piano-forte. The fact is, however, that it really possesses almost all those elements of expression which belong to any other instrument, and several which are peculiar to itself, from the circumstance of the various parts of music adapted to the instrument being brought out by the same hand and same feeling. An immense difference of volume of tone and of effect is produced by the manner of touching the keys and by the use of the pedals, especially upon an instrument of great power, fine quality of tone, and delicate mechanism in the action. The manufacture of the piano as a branch of trade is of very great importance, from the superior character of the principal workmen, and the vast numbers employed, directly and indirectly, in connection with it. In all the cities of the civilized world there are numerous makers of this instrument, with immense numbers of workmen; and in most secondary towns throughout Europe there are small makers; whilst the increase of the number of pianos, compared with the population, is every year more rapid, a circumstance which is not observed in regard to other musical instruments. This is corroborated by the fact, that some years ago piano-forte music constituted only a very modest portion of a music-seller's stock; whereas now it fills more than three-quarters of his shelves, and makes his chief business. The number of teachers is something wonderful; many are reduced ladies, who find in this exercise of their acquirements the most available means of support. Every professional pianist has often had occasion to exercise his kindly and generous feelings in recommending and assisting accomplished women, whose helpless families would otherwise have been utterly destitute. The social importance of the piano is, beyond all question, far greater than that of any other instrument of music. One of the most marked changes in the habits of society, as civilization advances, is with respect to the character of its amusements. Formerly nearly all such amusements were away from home and in public; now with the more educated portion of society the greater part is at home, and within the family circle; music on the piano contributing the principal portion of it. In the more fashionable circles of cities, private concerts increase year by year, and in them the piano is the principal feature. Many a man engaged in commercial and other active pursuits finds the chief charm of his drawing-room in the intellectual enjoyment afforded by the piano. In many parts of Europe this instrument is the greatest solace of the studious and solitary. Even steam and sailing vessels for Pianosa passengers on long voyages are now obliged, by the fixed habits of society, to be furnished with piano-fortes; thus transferring to the ocean itself something of the character of home enjoyments. By the use of the piano many who never visit the opera or concerts become thoroughly acquainted with the choicest dramatic and orchestral compositions. This influence of the piano is not confined to them, but extends to all classes; and while considerable towns have often no orchestras, families possess the best possible substitute, making them familiar with the finest compositions. The study of such compositions, and the application necessary for their proper execution, may be, and ought to be, made the means of greatly improving the general educational habits and tastes of piano students, and thus exerting an elevating influence, in addition to that refined and elegant pleasure which it directly dispenses."