THE PIANOFORTE.

The Pianoforte is such an important article in the furniture of the present time, that a few notes about its development, from a decorative point of view, may be acceptable. In "Musical Instruments," one of the South Kensington handbooks, Carl Engel traces the Pianoforte from the "Clavicembalo," which he tells us, "was, in fact, nothing but a Cembalo or Dulcimer, with a key board attached to it." Our present Grand Piano was, however, more immediately a development of the Harpsichord[29] and Spinet, which had succeeded the Virginal of the 16th century. These were made of oblong shape and supported on stands, which were simply supports for the instrument, and did not form a part of it as do the legs of a modern "grand." In an original play bill, which is still preserved at Messrs. Broadwoods', there is an announcement that at the Theatre Royal, Covent Garden, on the 16th of May, 1767, at the end of Act I. (of the Beggars' Opera), "Miss Brickler will sing a favourite song from 'Judith,' accompanied by Mr. Dibden, on a new Instrument, called Pianoforte."

There is an illustration on p. [172] of a Harpsichord which is in the South Kensington Museum, and in the same collection are others, varying in types as instruments, and of different decorations. The one which belonged to Handel is a good specimen of the decoration bestowed on these instruments. Others of about the middle of the eighteenth century, were covered with a coating of lacquer, like some of the furniture referred to in Chapter VI., the parts of the cases to be so decorated having been sent to China, and returned when coated with the preparation, then only known to the Chinese, but afterwards imitated in Europe. Some of these lacquered cases are very beautiful, and those which were elaborately painted in the Vernis Martin style, are finished with the care of cabinet pictures or miniatures. They have, as a rule, the fine subject painting, or landscape, inside the lid of the case, as in the illustration on p. [172], while the outside of the case is decorated with arabesques of gold on a dark colored ground. Such an Instrument was sold at the sale of Lord Lonsdale's furniture, a few years ago, for some three hundred pounds.

The rectangular shape appears to have been partially abandoned for the "Wing form," of which the modern "Grand" is a development, about the time of Queen Anne, and was, in some cases, adapted to the Harpsichord of the time. The earlier pianofortes were rectangular in form, with the idea of preventing the unequal appearance produced by the bent treble side of the Grand, and the writer has in his possession such an instrument, without pedals, which bears the inscription:—"By Royal Patent. Longman and Broderip, Musical Instrument makers, 13, Haymarket, and 26, Cheapside, London." Collard and Collard are the successors of this firm, and still retain the same premises in Cheapside. The oldest Broadwood piano, at present on exhibition in Vienna, bears the name of "Schudi and Broadwood," with date 1780. It is square and without pedals.

Towards the end of the last century pianos were made to harmonize with the Adam, Hepplewhite, and Sheraton furniture of the day, and some were elaborately inlaid with small plaques of Wedgwood's Jasper ware.

There are also instruments in existence, and designs, which shew that as the style of furniture changed during the time of the French Revolution, and subsequently to the Classic Greek, the Piano followed the new fashion. There is in St. James's Palace the instrument made by Broadwood for the Princess Charlotte, who died early in the nineteenth century. This is square in form, and is veneered with a single sheet of ivory, the elephant's tusk having been first softened by acid, and then cut circular fashion.

In France, the older Harpsichord and the later Pianoforte have followed the different styles which have affected the decorative furniture of that country, and the same remark applies to the more limited productions of such instruments in other countries.

During the period of had taste which prevailed in England thirty or forty years ago, those who made and those who purchased pianos were content to have either the instrument in the most ordinary and commonplace case of mahogany, walnut, or the rosewood which about 1840 came into great favour, or else the cases were designed in an extravagant fashion, and covered with a superabundance of ornament, quite out of keeping with the use of a musical instrument.

Two illustrations in Chapter IX., one of Broadwood's Grand, and the other of an upright in Bottle's style of work, by Leistler, of Vienna, may be taken as the most favourable examples of pinaoforte decorations at the time of the 1851 Exhibition.

Latterly there has been amongst leading manufacturers, especially those of our own country, a marked improvement, and the cases are made of rare and carefully chosen woods, and the style adapted, in many instances to the furniture of the room. Sir Alma Tadema designed cases in the Byzantine style. Mr. Burne-Jones painted one with an elaborate design of figures and scrolls; another with a shower of roses right across the sounding board, and he also revived the old-fashioned trestle support, formerly used for harpsichords. Mr. Waterhouse, R.A., Mr. John Birnie Philip, who executed the podium of the Albert Memorial, Mr. T. G. Jackson, R.A., and others, have also designed piano cases for friends and clients.

In the "Inventions" Exhibition, a few years since, there was a very good opportunity of noticing the advance in design of the Pianoforte. In nearly every instance the old fashioned fretwork front had been abandoned for a painting or a marquetry panel. Some were enamelled white, and relieved by gilding; others had a kind of gesso-work decoration, and the different fashionable styles of furniture were reproduced with various modifications. Amongst others, Kirkmans exhibited a grand and an upright made from designs by Col. Edis, and Hopkinson a boudoir grand and some small cottage pianos in satinwood and marquetry, and also in satinwood painted in the old English style, and having silk panels in front with copies of Bartolozzi prints. The designs were in the latter case made by the author. Broadwoods, and other English firms, also produced special designs.

Since this Exhibition, if there has not been improvement, there has been endless variety, and the piano case is now designed and decorated to please the taste of the most fastidious or the most eccentric.

INDEX.

NOTE.—The Names of several Designers and Makers, omitted from the Index, will be found in the list in the Appendix, with references.