h of which requires great skill and care.
These are: First, The making of the framing and the sound-board; Second,
The stringing; Third, The keys and action; Fourth, The case and
ornamental work. The framing requires strength and simplicity. It is
this portion of the instrument which sustains the tension of the
strings, which in full to large-sized pianos is not less than from six
to twelve tons, and it is a matter of prime necessity that the portions
which serve as a strut or stretcher between the ends of the strings, and
which are to resist this enormous pull, must be made correspondingly
strong and rigid, since by any gradual yielding under the pull of the
strings, their lengths and tensions, and hence their tone, must undergo
proportionate change. In the old pianos, the frames were of wood, and it
was impossible to use any but small, short strings, for the reason given
above. Fullness and power were not to be thought of, and builders were
obliged to confine themselves to securing truthfulness of tone. A
multitude of causes, among which were the changes in the weather,
combined to render it impossible to keep the old-fashioned instrument in
tune. It was this defect which first attracted the attention of Jonas
Chickering, and his first endeavor was to produce an instrument which
would withstand the climatic changes which were so troublesome to the
old ones. He was fully aware of the fact that the piano trade in this
country was then so unimportant that it offered but little inducement to
a man who could manufacture only the old instrument; but he believed
that by producing an instrument of better proportions, and one fuller,
richer, and more lasting in tone, he could create a demand for it which
would insure the sale of all he could manufacture. His hope of success
lay not in the old, but in an improved and nobler instrument. That he
was correct in his belief, the magnificent instrument of to-day which
bears his name, and the lucrative business he has left to his sons,
amply demonstrate. Others besides himself were working for the same end,
and he knew that he would have to bear the test of determined and
intelligent competition. He applied himself to his purpose with
enthusiasm. He carefully studied the theory of atmospheric vibration and
musical combination, as well as an application of the principles of
mechanical philosophy to the construction of the instrument. He went
deep into the science involved in his work, in