The box in Illustration 299 holds twenty-four glasses, which, when used, are filled with water, and are tuned by the amount in each glass. The finger is dipped in the water and rubbed on the edge of the glass, producing a sound of penetrating tone. The stand and box in this illustration are of mahogany, and make an ornamental piece of furniture.

Illus. 299. - Harmonica, or Musical Glasses, about 1820.

Illus. 300. - Music-stand. 1805.

A stand for music is shown in Illustration 300, owned by J. J. Gilbert, Esq., of Baltimore. It is elegant in design and possesses also the very desirable merit in a rest for music, of standing firmly upon its four lion's claw feet, with the heavy turned and reeded post to support the top and the lyre-shaped music rack.

Illus. 301. - Music-stand, 1800-1820.

The mahogany case for music books in Illustration 301 is owned by Dwight M. Prouty, Esq. It has a drawer for sheet music and a shelf below, beside the five compartments for books, with the lyre-shaped divisions of solid wood, and the ends open, with lyre strings of wood.

Illustration 302 shows a harp-shaped piano, made by Andre Stein, d'Augsburg. It is owned by B. J. Lang, Esq., of Boston, and was made about 1800. Pianos of this style are occasionally found in this country. The shape of the top shows how the strings run, the effect being similar to a grand piano stood upon its end. The silk draperies are the original ones, and are faded from red to a soft dead leaf color, which is most artistic and harmonious. The six pedals are supposed to produce different effects to correspond with the following names : fagotti, piano, forte, pianissimo, triangle, cinelle.

The upright piano, known then as a cottage piano, was invented in 1800. Illustration 303 shows a small upright piano said to have belonged to Lady Morgan, the "wild Irish girl." The case is an exquisite example of the work of an English cabinet-maker, from 1800 to 1810, and may have been that of Sheraton himself. The lower panels are of satinwood, with the frame and the oval piece in the centre of mahogany, outlined with ebony and white holly. The upper middle panel is filled with a sunburst made of pleated silk. The side-panels are of satin-wood, framed in bird's-eye maple, outlined with mahogany, and the ovals in the centres are of mahogany, with fine lines of ebony and white holly.

Illus. 302. - Harp-shaped Piano, about 1800.

Illus. 303. - Cottage Piano, or Upright, 1800-1810.

Altogether, it is as dainty an instrument as any lady could wish for her boudoir.

Illustration 304 shows a Chickering upright piano made in 1830. The frame is of mahogany, and the front of the upper part is filled with a sunburst made of pleated silk, from which this style of piano was sometimes called a sunburst piano.

A very beautiful and ornamental piano is shown in Illustration 305, owned by James H. Darlington, D.D., of Brooklyn, New York. The body of the piano is made of rosewood. The strings are arranged like those in a grand piano, but the sounding-board extends only the distance of the piano body; above that the strings are exposed like those of a harp. The wooden frame upon which the wires are strung is supported by a post of wood elaborately carved and gilded. The keyboard has a range of seven octaves. Upon the inside of the cover is the inscription "New York Piano Company - Kohn patent."

Illus. 304. - Chickering Upright Piano 1830.

Illus. 305. - Piano, about 1840.

The story is that a piano-maker in New York vowed he would make the most beautiful piano in the world. One like this was the result, and it was bought by A. T. Stewart, at that time, about 1840, the merchant prince of New York. Six others were made like the original piano, and they are scattered over the country, one being in the Brown collection of musical instruments in the Metropolitan Museum of Art.

Illus. 306. - Hawkey Square Piano, about 1845.

Illustration 306 shows the form in which the square piano was finally made, and which, with few variations, continued fashionable until the introduction of the present style of upright pianos, since when there have been practically no square pianos manufactured. This piano was made by Henry Hawkey of New York, about 1845, and it is noteworthy because the keys are made of mother-of-pearl, and the scrolls above the keyboard are inlaid in mother-of-pearl. The case is covered with rosewood veneering, and the legs are large and clumsy. The music-rack and pedal support are similar in style to those now in use.

Proficiency upon the piano and spinet would appear to have comprised the chief accomplishments in instrumental music of the young ladies of the eighteenth and early nineteenth centuries, as far as we can judge by mention of such accomplishments. But it seems reasonable to suppose that where a few English ladies employed their fair hands upon the harp, there were not lacking a similar number of Americans who also appreciated the opportunity which that classic instrument affords of displaying the grace and beauty of a rounded arm and wrist. Even in our own day, the list of those who play the harp is restricted, and it must have been the same in early days, hence the lack of allusions to the harp. When Lady Morgan, the "wild Irish girl," was creating such a sensation in London with her harp-playing, it is certain that she had imitators in this country.

Illus. 307. - Harp, 1780-1790.

Christopher Columbus Baldwin, in his diary of 1832, speaks of Madam Papanti, who at that time lived in Worcester with her husband, the famous dancing-teacher. She gave music lessons, possibly upon the harp, for Mr. Baldwin tells of her playing that instrument upon Sundays at Dr. Bancroft's church, while her husband played the French horn, "which, with two flutes, a base viol, and violin, make very good musick."

Illustration 307 shows a very beautiful harp made previous to 1800, belonging to Mrs. Reed Lawton of Worcester. In construction it is not very different from the modern harp, although considerably smaller. It is exquisitely carved, and instead of being gilded is painted in colors, and finished with a varnish like the vernis martin, the general effect being a golden brown. The harp which Marie Antoinette played upon is still preserved, and is very like this one.