nt. But his life was made miserable
fighting the claims of other manufacturers who sprang up and immediately
went into business. Marius met the same fate, being driven to
distraction by competitors, some of whom turned out instruments far
superior to his.

England did not accomplish much before the middle of the eighteenth
century. Up to 1760 all pianos were made in what is known as the "grand"
form. Then a German in the employ of the Tschudi's, famous makers of
harpsichords, invented the familiar "square" style. At the beginning of
the nineteenth century, the most noted European makers were the Steins,
Stodart, Broadwood, Pleyel, Erard, and Silberman. Pleyel was
distinguished not only for his fine instruments, but for the fact that
he was the twenty-fourth child born to his mother after she married
Martin Pleyel. She died soon after his birth, whereupon his father took
unto himself another wife and had fourteen more children, making a
family of thirty-eight, thirty-five of whom lived and prospered. Pleyel
was chapel master of Strasburg Cathedral. He was the author of some fine
hymns and other compositions which we know and love today. He lived in
Paris, manufactured splendid pianos, and was, before his death,
proprietor of one of the largest establishments in Europe.

To show against what prejudice the piano had to struggle as compared to
the harpsichord (and even the clavichord), we quote from a musical
critic in Leipzig who said:

"The clavichord stands highest of all instruments, and although on
account of its nature it is excluded from the concert hall, it is the
companion of the recluse. The latter says to himself: 'Here I can
produce the feelings of my heart, can shade fully, drive away care, and
melt away a tone through all its swellings,'" This critic says further:

"The piano is so deficient in its shadings and minor attractions, it is
adapted only for concerts and chamber music." This dissertation closes
as follows: "In order to judge a virtuoso, one must listen to him while
at the clavichord, not while at the piano or harpsichord."

To illustrate the novelty of the piano in the year 1767, we find on an
old English play bill of the Covent Garden Theater a certain Miss
Brickler advertised to sing a favorite song from "Judith," accompanied
by Mr. Dibdin on "a new instrument" called the pianoforte. This was at
the intermission after the first act of "The Beggars" opera.

After Mozart became acquainted with