We pass to the next room, where we find the workmen employed in preparing the massive metallic (iron) plates used inside the pianos, from the rough state, as they come from the furnace. They are first filed smooth and perfect to the pattern, then painted and rubbed even and smooth, and are then ready for the drilling of the numerous holes for the pins and screws that have to be put into and through the plate in using it. (A view of the drilling-machines and workmen is given with the engine.)
Into each plate for a seven octave piano, there have to be drilled upwards of 450 holes, and about 250 of these have pins riveted into them for the strings, &c.; and these must be exactly in their places by a working pattern, for the least variation might make much trouble in putting on the strings and finishing the piano. Of course, these holes are drilled by machinery with that perfection and speed that can be done only with the most perfect machines and competent experienced workmen. And these metallic plates, when finished and secured in the instrument correctly, give a firmness and durability to the piano unattainable by any other method.
MACHINE-ROOM.
In the same room with the drilling-machines we find the leg-making machines, for cutting from the rough blocks of lumber the beautifully formed "ogee" and "curved legs," as well as sides, of various patterns, ready for being veneered with rosewood or mahogany. The body of the legs is generally made of chestnut, which is found best adapted to the purpose. The leg-machine is rather curious in its operations, the cutting-knives revolving in a sliding-frame, which follows the pattern, the leg, whilst being formed, remaining stationary.
Our first impression on entering the machine-shop is one of noise and confusion; but, on looking about, we find all is order, each workman attending his own machine and work. Here are two of "Daniel's Patented Planing-Machines," of the largest size, capable of planing boards or plank of any thickness three feet wide; two circular saws; one upright turning-saw, for sawing fancy scroll-work; a "half-lapping machine," for cutting the bottom framework together; turning lathes, and several other machines, all in full operation, making much more noise than music.
The lumber, after being cut to the length required by the large cross-cut saw in the yard, and piled in the sheds, is brought into this machine-room and sawed and planed to the different forms and shapes required for use, and is then ready for the drying-rooms.
In this machine-room, which is a very large one, the "bottoms" for the cases are made and finished, ready for the case-maker to build his case upon. If we examine them, we will find they are constructed so as to be of great strength and durability; and, being composed of such perfectly seasoned materials, the changes of different climates do not injure them, and they will endure any strain produced by the great tension of the strings of the piano in "tuning up to pitch," amounting to several tons.
But we must pass on to the next room. We step on a raised platform about four feet by eight, and, touching a short lever, find ourselves going up to the next floor. Perhaps a lot of lumber is on the platform with us, on its way to the drying-rooms. On getting on a level with the floor, we again touch the magic lever, and our steam elevator (or dumb waiter) stops, and, stepping off, find ourselves surrounded with workmen; and this is the "case-making" department. And here we find piano-forte cases in all stages of progress; the materials for some just gathered together, and others finished or finishing; some of the plainest styles, and others of the most elaborate carved work and ornamental designs. Nothing doing but making cases; two rooms adjoining, 115 feet long, with workmen all around as close together as they can work with convenience. Each room is furnished with its steam ovens, glue heaters, &c. The case-maker makes the rims of the case, and veneers them. He fits and secures these to the bottom. He also makes and veneers the tops. This completes his work, and then we have the skeleton of a piano, the mere shell or box. The rim is securely and firmly fastened to the strong bottoms, bracing and blocking being put in in the strongest and most permanent manner, the joints all fitting as close as if they grew together; and then the case is ready to receive the sounding-board and iron frame. The bottoms are made mostly of pine; the rims of the case are of ash or cherry, or of some hard wood that will hold the rosewood veneers with which they are covered. The tops are made of ash or cherry, sometimes of mahogany, and veneered with rosewood. We will now follow the case to the room where the workmen are employed in putting in the sounding-board and iron frames.
