696 THE POPULAR SCIENCE MONTHLY. 



judicious sprinkling, ostensibly to allay dust, might thus successfully 

 compete with a good instrument during an ordinary public exhibition, 

 although it would soon prove worthless. 



Varnish is now used for sound-boards and cases, both here and in 

 England. 



The constitution of the English piano-forte enables it to bear the 

 English climate, in which the humidity is more uniform. When 

 brought here it breaks down. But even the American piano-forte can 

 only to a certain extent bear the trials from climatal changes to which 

 it is subjected, and for a very limited space of time in some parts of 

 the States, as, for instance, the Rocky Mountains. If a good instrument, 

 made with native woods, seasoned for two years in the open air, and 

 kiln-dried for three months at 130 Fahr., be removed in winter, while 

 the thermometer is at zero, and placed in a heated concert-room, the 

 sudden rise in the temperature, causing dampness, would affect the 

 glue as well as the wood-work. But when organic derangements are 

 not caused, a host of minor ailments set in which impair and gradually 

 destroy a j^iano-forte. The metals corrode, the strings break, the pins 

 liolding the wires relax their hold, and then turn round (in inferior in- 

 struments), the felt on the hammers becomes worn, the damper actions 

 rattle, the various centres loosen, the hammers (that deliver the blow 

 before the key is fully down, and then immediately retire from the 

 string, to allow it to vibrate and take up such a position as to deliver 

 a number of consecutive blows with rapidity) may act with irregu- 

 larity, or without the requisite vigor, and moths may attack the felt 

 and cloth. Although many of such ailments yield to treatment, yet 

 they are unmistakable signs of general decay. In forming an estimate, 

 however, of the longevity of a piano-forte, one should reflect on his 

 growing insusceptibility to sensuous ijnpi'cssions, and not institute 

 comparisons with newer instruments of greatly-enhanced capabili- 

 ties. It is well also to point out that sometimes articles of furni- 

 ture, free to vibrate, wall do so in sympathy with certain notes of the 

 instrument, and thus make a supposed defect. Articles, such as a 

 stiletto in a metal sheath, or a glass globe on a gasalier, are not 

 readily detected in the act of responding. 



On comparing piano-fortes by various makers it is well also to 

 bear in mind the special peculiarities of each. The makers of the 

 Erard piano desire to produce a brilliant, ringing effect, and do not 

 destroy the numerous, tingling overtones which succeed the cessation 

 of their primaries. Sensitive artists, who desire an achromatic quality, 

 object to these, although they are intended to add a kind of harmonic 

 halo or lustre to the general tone, which in a crowded drawing-room 

 might appear dull and lifeless wanting in radiance and animation. 

 The Broadwood makers strive for the formation of a full, organ-like 

 tone. The Collards are successful in obtaining flute-like and liquid 

 tones, which in the treble are remarkably sweet and dulcet. The Ger- 



