PROCEEDINGS OF THE POLYTECHNIC ASSOCIATION. 525 



reference tothe advancement and perfection of the instrument on this side 

 of the Atlantic. 



^ JEREMIAH CAimART's IMPROVEMENTS. 



In tlie year, 1839, Mr. Carliart devoted his leisure hours to the manufac- 

 ture of a seraphine for his own use. It had five octaves, and two sets of 

 reeds in unison, and was furnislied with tlie old-fashion organ bellows. 

 The reeds were made of steel springs, fastened on cast metal blocks, but, 

 during the course of construction, he experimented on a great variety of 

 materials for the reeds, such as various kinds of wood, horn, ivory, gold, 

 silver, steel, brass and many other compositions; his object, at that time, 

 being more to procure softness and sweetness of tone, than with a regard 

 to the irregularities that might occur by changes of temperature, to which 

 they would be subject in different seasons and climates. When he put this 

 instrument together, it was found to be far superior to any similar one that 

 had been seen or heard of in that section of the country, although his 

 employers had on sale seraphines, etc., both domestic and foreign, with all 

 the then latest improvements. Every person, except Carhart liimself, who 

 came witliin hearing distance, expressed themselves perfectly delighted 

 wiih it; but to the fastidious ear of its constructor, there wei'e the old 

 faults; not so perceptible as formerly to be sure, but the sharp, unpleasant 

 twang, and tardy movement were still distinguishable, and in his opinion, 

 they were decidedly against it, and must be remedied. Again, the whole 

 affair was so complicated, that there was a great amount of labor and dif- 

 ficulty in taking it apart to get at the reeds and valves. In order to facili- 

 tate his further experiments, he desired to turn the reeds up side down. It 

 must be stated that in this primary instrument, as in all others up to that 

 time, the reeds were on the under side, next the opening on the bellows, the 

 wind passing upward and outward. In order to make the reed " speak,'" 

 ■when turned over, he found it would be necessary for the wind to pass 

 through the reed from the upper side downward. This circumstance was 

 the first application of his idea of the suction bellows, and proved to be 

 the initiatory step to his great invention. He immediately set about con- 

 structing a bellows that would produce the desired effect, and which he 

 already foresaw would greatly diminish the impediments in his further 

 experiments, as thereby the reeds M'ould be accessible from the upper side, 

 and could be removed and replaced at pleasure, without taking the instru- 

 ment to pieces. His exertions here were long and tedious, and had he not 

 been possessed with most indomitable energy and perseverance, he would 

 have given up in despair a dozen times. In a very few weeks he accom- 

 plished the musical object; but effort after effort was cast aside as being 

 too complicated and cumbersome — he being determined that if it ever was 

 placed before the public, it should have all the valuable qualities desired. 

 At times he would defer operations on it, and long before it was perfected 

 he had made three other important inventions; one a planing machine, 

 another a machine for turning irregular forms, and the third, a brick press; 

 all of which have since been patented and put into successful operation by 

 other parties. Finally, after years of patient industry, during which he 

 not only labored almost incessantly, night and day, but submitted to all the 

 inconveniences of a light purse and a young family to support, he sue- 



