MUSICAL INSTRUMENTS— THE PIANO-FORTE. 487 



tions of the strings — was a difficult system to perfect, since it 

 compelled radical changes in the disposition of the hammers, 

 structure of the plate, and other component parts of the piano. 

 About 1853, when the instrument had grown to still larger di- 

 mensions and power, thanks to the whole-cast metal plate, a point 

 had been reached where it became apparent that further compass 

 and volume of tone were impossible under accepted stringing con- 

 ditions. Overstringing was the only avenue to further progress 



Fig. 15. — Heitoy E. Steinway. 



in tone-development open to piano-makers ; yet few saw it, and 

 those who did were incapable of bringing it to a practical success. 

 The chief points of superiority over the flat scaling are that over- 

 stringing permits the dividing up of the tensional pull of the 

 strings upon the case, while it admits of their more advantageous 

 use from the standpoint of tone, and renders the instrument more 

 capable of staying in tune and u]i to pitch — a most important con- 

 sideration. 



John Jardine — a very clever piano-maker — was one of the ear- 

 liest to attempt overstringing in this country, but his efforts led 

 to no permanent results. Frederick Mathushek took out a pat- 



