There are many things relating to the piano-forte which we have not touched upon. There are also some foreign actions to which we have not given much attention, especially those called down-striking actions. Other inventions, too,—such as Mr. Litherland's patent helical springs to preserve the tuning, Mr. Riley's transposing instrument, Mr. Mott's eoetinente, Mr. Kirkman 's octave string, and Mr. John Trotter's alter nated key-board,—have all given place to other things, and are no longer known to the present generation of musical people. Mr. Lither land's plan was a well-tempered helical spring, which was to be attached to the loop of the string; thus, as the string contracted the spring gave way, or as it expanded the spring collapsed, by which the pitch of the string was retained and the tuning consequently preserved. It was never adopted to any great extent, but had its admirers a want of firmness in the tone was perhaps its greatest defect. Mr. Riley's plan for transposition was simply a double set of keys, one sliding under the other. by which music might be played from the same scale a note or notes higher or lower. It was purchased by Messrs. Broadwood, and is now laid aside. It never was calculated to be of servloe to the practice of music ; neither did it introduce any new or valuable idea to the mechanic. Mr. Mott's sontinente was an npplication of a cylinder and silk loops to an upright piano-forte. The loops were attached to the strings, and the cylinder, which was moved by the foot, se it were bowed them, and the tones came forth somewhat like the tones of the seraphim% Under Mr. Mott's fingers, this instrument was capable of most pleasing effects ; but without such aid, we never esteemed the invention. Mr. Eirkmade octure string was applied as the third string of a grand piano ; this string was an octave higher in pitch than the other two, and was somewhat in effect like two diapasous and a principal in an organ, but not so marked in character. It pleased for a time, but is now no more thought of. In Mr. Trotter'e alternated key-board the peculiarity was that of alternating the keys : thus the octave came within seven white keys ; the black keys, too, were ander the white, and in front of them below with broad heads; e; by which arrangement • black key could be taken by either the Mesa or the finger, at the option of the performer. This instrument was called by Mr. Trotter a transposing pianoforte; and ho went so far as to promise a new notation for it, which notation he seemed to think would do away with the present altogether. That he did
not live to perform his promise we much regret ; for, certainly, double sharps and double flats, with all their accidentals, are anything but agreeable to those who cannot devote their whole lives to the study of ausia In relation to the bracing of piano-fortes, there is a difficulty in giving strength to that of the squares and grand». Some makers are for iron, and some for wood ; but wood, it seems, is inconvenient, and iron is therefore mostly adopted. That strength is important, and very important, is quite clear, when we know that the strings of a grand piano-forte pull equal to a weight of six tons. Iron as a sub stance, doubtless, has the greater strength, but may not wood be so applied as to be strong enough!' That wood is more sonorous than iron, there has never, we believe, been a question; and we will yet hope that, sooner or later, it will be allowed to be a better material.
The piano-forte manufacture is now conducted in this country on a very large scale, and comprises processes of the highest order in the working of wood. The recent cheapening of the instruments has resulted in part from the lessening of profits, by the establishment of a number of small manufactories in competition with the few older firms. But it remains nevertheless true, that a large capital, aided by highly paid workmen's skill, are necessary for the production of the best instruments. Such firms as Broadwood'e, Collard's, &c., keep timber in store for many years, and bestow extraordinary care upon it, that it maybeperfectlyseasoned before being used. Specimens of wood of more than usual beauty are eagerly bought by such firms at enormous prices: an example of this has been noticed in the article Matioosicr. Some of the piano-fortes now made, having the most complex and elaborate actions, consist of very little less than four thousand separate and distinct pieces, each of which, according to its material and character, has to be carefully fashioned before being adjusted to its place. The material thus used comprises ivory, ebony, cedar, sycamore, lime-tree, pine, and oak, according to the kind of service required ; besides the mahogany, rosewood, or walnut-wood of the exterior; and besides steel, iron, brass, lead, cloth, felt, leather, and vellum.
The great extension of piano-forte music in families, and the unceasing demand in the Australian and American colonies, have led to a notable extension of the piano-forte manufacture within the last few years.