Illustration 285 is a fine example of an early pianoforte. Like the spinet and clavichord, the body of the instrument is separate from the lower frame, which is fastened together at the corners with large screws like a bedstead. This may have been for convenience in transportation, and it is possible that while the top containing the works was imported, the supporting frame may have been made in this country. There are four slender inlaid legs, and one pedal, and under the body of the piano runs a most convenient shelf for music. The case is of mahogany, with rows of fine inlaying in colors, having two rows of different width around the top of the lid. The board above the keys is of satinwood, and it has, beside the delicate frets at each side, charmingly painted garlands of sweet peas, a flower very popular in England at that time, about 1805. The name plate has the inscription "Muzio Clementi & Co., Cheapside, London," and the number of the piano is 3653. It measures sixty-seven inches in length, and has a compass of five and one-half octaves. There is a line of inlaying around the inside of this piano, which is finished carefully in every detail. The music-rack is of simple form like the rack in Illustration 286. The music may also rest, as in the illustration, upon the edge of the lid, when put back. This piano is owned by the writer, who bought it in Falmouth, Massachusetts. It was said to be the first piano brought into Falmouth, or upon the "Cape," and in looking at this dainty instrument, which had never left the room in which it found its home, a hundred years ago, one can imagine the wonder and envy of the little seaport village when a whaling captain, after a successful voyage, gave the piano to his daughter. Nothing could sound more quaint than a Gliick or Mozart minuet played upon its tinkling keys.

Illus. 285. - Clementi Piano, 1805.

The founder of the Astor family about 1790 to 1800 made one branch of his business the importing of pianos, which were labelled with his name and which are quite commonly met with. Illustration 286 shows an Astor piano owned by Mrs. Sanford Tappan of Newburyport. The style of this piano is similar to that of the "Clementi' in Illustration 285, but it lacks the delicate ornamentation of the Clementi piano. In the Columbian Centi-nel of 1806 is an advertisement with a woodcut of an instrument very like this.

Illus. 286. - Astor Piano, 1790-1800.

There is an Astor piano in Salem, described as having four legs in the front, indicating that it was made as late as 1815. It had two pedals, one being used to prolong the tones. The other pedal served to produce a novel and taking effect, by lifting a section of the top of the piano lid, which was then allowed to fall suddenly, the slamming serving to imitate the firing of cannon. The young lady who owned the piano created a great sensation by playing battle pieces with this startling accompaniment.

Illus. 287. - Clementi Piano, about 1820.

Illustration 287 shows the change in the legs, this piano having six legs, which are considerably larger. The piano was made by Clementi, and is numbered 10522. It is of light mahogany, and has a row of dark mahogany veneer around its frame. The feet and tops of the six legs are of brass, like the handles to the three drawers, and a brass moulding goes around the frame. The piano stool, also of mahogany, is of a somewhat later date. This piano and stool are owned by W. S. G. Kennedy, Esq., of Worcester. This style of piano was in use from 1820 to 1830.

Illus. 288. - Combination Piano, Desk, and Toilet-table, about 1800.

Illustration 288 shows one of the curious combinations which the cabinet-makers of about 1800 seemed to be so fond of designing. Their books have complicated drawings of tables and desks with mechanical devices for transforming the simple-looking piece of furniture into one full of compartments, drawers, and boxes, with contrivances which allow surprising combinations to spring out. Sheraton, who was a shrewd observer, said, "A fanciful-ness seems most peculiar to the taste of females"; and this piece of furniture was made, apparently, to appeal to that "fancifulness." Between the works of the piano and the cover is a tray divided into compartments to hold toilet and writing utensils, ink-bottle, sand-sifter, stationery, pins, and sewing-implements, and over the keyboard rests a long tray for similar articles. These trays can be removed when the piano is to be used. There is a front panel which lets down, forming a writing-table, and a mirror is set in the face of the rest that supports the lid when raised. Thus the lady for whom all this was designed, after using it as a dressing-table, could play the piano and look at her own pretty face in the mirror while she played and sang. This combination of piano, dressing-table, and writing-desk is owned by the Rev. James H. Darlington, D.D., of Brooklyn, New York.

Illus. 289. - Piano, about 1830.

Illus. 290. - Peter Erben Piano, 1826-1827.

In 1829 the manufacture of pianofortes had increased so that during that year twenty-five hundred pianos were made in the United States, chiefly in New York, Philadelphia, and Boston.

The piano in Illustration 289 belongs to Mrs. Ada Grisier of Auburn, Indiana, and is an unusually fine specimen of the six-legged piano fashionable about 1830. The case is of mahogany and is inlaid with lines of brass, while around the body run two rows, of different width, of brass moulding. The legs are large, and elaborately carved, and are set in brass standards. On each corner of the frame is a design in gilt. There is one wooden pedal, and the range of the piano is five and one-half octaves. The name of the maker has been obliterated.

The piano in Illustration 290 is owned by Mrs. Louis M. Priest of Salem, New York. The body is of rosewood inlaid with brass, the lid being of mahogany, like the elaborately carved trestle-shaped supports. It has two drawers for holding music, and one pedal, the standard for which is a carved lyre with a mirror behind its strings. The keyboard has a range of six octaves. The name upon the front is Peter Erben, 103 Pump St., New York.

Peter Erben was a music-teacher whose address from 1826 to 1827 was 103 Pump Street, which determines the date of this piano. The writer knows of four pianos with the carved mahogany trestle-supports, all with the name of Peter Erben as maker, though it is probable that, like modern pianos, the works were bought, and whoever wished might have his name upon the name-plate, since Peter Erben is in the New York directories for thirty years as "Musick teacher" or "Professor of musick" only.

The piano-stool in Illustration 291 was made to use with the piano in Illustration 290. The wide spread to the three feet gives the effect of a table base, but there is no doubt that this was made originally to use for a piano-stool. The little weather-beaten house, in which the piano and stool had always stood, possesses a ghost story of a young girl who was starved to death by her miser brother, and who was said to haunt the house. This piano and stool give the impression of the reverse of a miser, and the poor ghost must have been before their day. The stool is now owned by the writer, but is neither practical nor comfortable, the feet being much in the way.

Illus. 291. - Piano-stool, 1820-1830.