Great Fortunes, and How They Were Made

by James Dabney McCabe

One of the wealthiest citizens of New Ipswich was the fortunate owner of a piano, the only instrument of the kind in the place; but his treasure was almost useless to him, for the reason that it was out of tune and seriously damaged in some respects. It had lain in this condition for a long time, no one in or near the place being able to make the necessary repairs. In this extremity the owner bethought him of Jonas Chickering, who had acquired an enviable reputation for skill in his trade, and it was thought that a good cabinet-maker ought of necessity to be a clever piano-maker. Young Chickering, thus appealed to, consented to undertake the task, as much for the purpose of becoming familiar with the instrument as of earning the sum the owner of it proposed to pay for the repairs. He had not the slightest knowledge of its internal organization, but he believed that by patient investigation he could master it, and he knew that the correctness of his ear would enable him to tune it. He made a careful study of the instrument and of every separate part, spent days over the task, discovered the injury and the cause of it, and not only took the instrument to pieces and restored it to its former condition, but did his work so well that the piano was pronounced fully as good in every respect as when it was new. This was not all. He discovered defects in the instrument which even its maker was not able to remedy, and his fertile brain at once suggested to him a plan for removing them.

Here was a chance for him, and he resolved to profit by it. He would abandon cabinet-making and learn the manufacture of pianos. Then, when master of his trade, he would make use of his discoveries, and earn both fame and fortune. When his determination to change his business was made known, his friends attributed it to his desire to be in the midst of musical instruments, and where he could gratify his love of music; but this was only a part of the motive which influenced him. He meant to rise in the world, and he was sure that he held in his hands the means of doing so.

In 1818, when twenty years old, he removed to Boston, and obtained employment with a cabinet-maker. He did this in order to give him time to look about him, to become familiar with the city and city life, and to acquire such other information as would enable him to decide upon the best means of putting his plans into execution. He saved his wages with the greatest care, and at the end of his first year in Boston had accumulated a modest little sum, which he meant should support him while he was learning his new trade.

On the 15th of February, 1819, without the loss of a day, he began work with a piano-maker.

He had now entered upon what he meant should be the business of his life, and he was resolved that he would be master of it. From the first he took rank in his employer's factory as the most careful workman in it. He spared no pains to make his knowledge full in every detail. Time was of no consequence compared with knowledge, and he was never anxious to hurry through with his work. It soon came to be recognized by his employer and fellow-workmen that he was the best fitted for those portions of the work upon the instrument which required the greatest patience as well as the greatest care, and the most difficult and delicate work was always intrusted to him, his wages being, of course, in proportion. Other men had no thought but to earn a living. This man meant to win fame and fortune, and to enlarge the scope of that art to which he was so passionately devoted. He labored with his mind as well as his hands, familiarizing himself with every detail of the manufacture, and devising in silence the means for improving the instrument and the implements used in its construction. He could afford to wait, to be slower than his fellows. Every moment spent over his task made his workmanship the better, and opened to his mind new sources of improvement. He spent three years as a journeyman, and then went into business for himself. He associated himself with a Mr. Stewart, under the firm of Stewart & Chickering.

Fifty years ago the piano-forte was a wretched piece of mechanism compared with the superb instrument of to-day. It was originally a progressive growth from the ancient lyre, through the harp, psaltery, dulcimer, clavictherium, clavichord, virginal, spinet, harpsichord, to the piano of Christofali in the early years of the last century. At the period of Mr. Chickering's entrance into business, it was still very imperfect, and the various manufacturers of the instrument were earnestly endeavoring to discover some means of remedying the defects of which they were all conscious. There are four divisions in the manufacture of a piano, each 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, into the philosophy of melody. Passionately devoted to music, he was ambitious of placing that which has been so truly called "the king of instruments" within the reach of all lovers of harmony, and to give them the best instrument that human invention could produce—an instrument which should not only withstand atmospheric changes, but which should yield the richest, fullest volume of melody, with the least exertion to the performer. His progress was slow, but it was sure. Beginning with an improvement in the action, he accomplished, in a great measure (in 1838), his plan for preserving the permanence and purity of the tone of the instrument by casting the entire iron framing with the parallel bars in one piece. Iron had for some time before this been in general use for framing, but the frame was cast in a few separate parts, which were put together by means of bolts and screws, a plan which is still used to a considerable extent in Europe. By his plan of casting the frame and its supporting bars in one solid piece, Mr. Chickering not only prevented the frame from yielding to the pull of the strings, thus securing permanence and purity of tone, but was enabled to use larger frames and more strings, which greatly increased the capacity of the instrument.

Several other improvements were made by him, the most important of which was the invention, in 1845, of the circular scale for square pianos, which is now in general use in this country and in Europe. "This consists in giving to the row of tuning pins and wrest-planks—previously straight in these instruments—a curved disposition, answering nearly to an arc of a circle, the advantage being that the strings become less crowded, larger hammers, and a more direct blow can be secured, and the tone is both strengthened and improved." With a rare generosity, Mr. Chickering declined to patent this improvement, which would have enabled him to drive competition out of the market. He regarded it as so necessary to a good piano that he declared that all makers ought to have the use of it, as it would thus be within the power of all persons able to purchase a piano to avail themselves of it, whether they bought a "Chickering" or not. Such generosity is too rare to fail to receive the praise it merits.

Mr. Chickering did not continue long in business with Mr. Stewart. The latter withdrew in a few years, and Mr. Chickering carried on the business alone. In 1830 he formed a partnership with Captain John Mackay, a retired ship-merchant. In the new firm Captain Mackay took charge of the finances and the office business, while Mr. Chickering devoted himself entirely to the mechanical department. The operations of the new house were very successful. The improvements made by Mr. Chickering from the first created a demand for their instruments which was sometimes so great that it was difficult to supply it. This demand continued to increase, until the house was perfectly easy as to money matters, and able to enlarge its facilities very greatly. It was Mr. Chickering's design that each separate instrument should be an improvement upon those which had preceded it, and he was careful that this plan should not miscarry. In a few years the firm was enabled to import the foreign materials needed, by the cargo, thus saving the profit which they had hitherto been compelled to pay the importer. Besides this saving, they were enabled to keep on hand a large stock of the woods used in the instrument, and thus it was allowed to become more thoroughly seasoned than that which they had been compelled to purchase, from time to time, in small quantities. In 1841, Captain Mackay sailed from Boston for South America, for the purpose of obtaining a supply of the woods needed by the firm; but he never returned, and as no tidings of him or his ship were ever received, it is supposed that the vessel went down at sea with all on board.

Mr. Chickering now decided to continue the business without a partner. His friends supposed that in assuming the management of the concern, in addition to the direction of the mechanical department, and the constant mental labor to which he subjected himself in his efforts to improve the piano, he was undertaking more than he was capable of performing. They feared his health would break down under it. Besides, it was generally believed that, in spite of Mr. Chickering's undoubted skill in his own department, he was not much of a business man. He was confident of his own ability, however, and did not hesitate to assume the new responsibility.

The business of which he now became the owner was very heavy and extensive. Soon after the beginning of his connection with Captain Mackay, the firm erected a large factory for the purpose of carrying on their business. One hundred hands were employed in it when opened, but in a few years it was necessary to employ more than twice that number, so rapidly did the business increase. The supply of materials needed was ample and of the very best quality, for Mr. Chickering never allowed an inferior article to be used. The warerooms were large and handsomely fitted up, and were filled with instruments ranging in price from a thousand dollars downward. It was generally believed that while Mr. Chickering's genius had created the demand for the pianos, it was Captain Mackay's business knowledge and experience that had placed affairs on their present footing, and when Mr. Chickering proposed to buy Captain Mackay's interest from his heirs, which was valued at several hundred thousand dollars, there was a very general belief, which found expression, that he was incurring certain ruin. The condition of the sale was that the purchase-money should be divided into installments, for each of which Mr. Chickering should give his note, secured by a mortgage on the premises. At Mr. Chickering's request each note was made payable "on or before" a given day. The lawyer who conducted the transaction smiled skeptically as he inserted this clause, and asked the purchaser if he ever expected to pay the notes at all.