Imágenes de páginas

James H. Bingham, and the date, June 23, 1823, marks the time of the first sale made of a new piano at the factory, then consisting of two rooms on Tremont street, next to King's Chapel, in a small building located where the Probate Court building now stands. Mr. Bingham was a friend of Jonas Chickering and he bought the piano for a Miss Thankful C. Hutchinson, at Alstead, N. H whither it was shipped.

After a few years it was sold to a Mr. Kingsbury, a relative, he purchasing it for his daughters, Harriet and Sophia, of Alstead, N. H.

These ladies after their marriages disposed of the piano to Mrs. Harriet Howard, of the same place, and it became the property of Mr. Wm. Howard, her husband, when she died. In the dwelling of this gentlemen Mr. Chickering found the piano and repurchased it on June 15, 1892.

Some of the remarkable features of it are the condition of the case, the fact that the original strings are in it and are not rusty, and the preservation of the tuning pins and keys.

It has never been repaired, and naturally all the felt and cloth, as well as nearly all the leather. are much worn, but the metal and wood are in an excellent condition and the tone is still there.

The piano, as will be seen, is an old square, square corners, finished back. It has 512 octaves. The dimensions are: Length, 5 feet 10 inches; width, 2 feet 5 inches; depth, 111⁄2 inches; height from floor, 2 feet 1111⁄2 inches.

The case is mahogany inlaid with rosewood, the nameboard being rosewood. The woodwork is intact, and the selection of figured wood shows admirable taste. There is, of course, a spruce soundboard and an additional mahogany soundboard, which is moveable, resting above the strings on the inside frame work, probably supposed to add to the vibration or to aid in emitting the tone. The name plate with the name engraved on brass reads: "Stewart & Chicker ing Makers, Tremont Street, Bostou."

A peculiarity of the stringing consists of the eight last covered strings, the tuning-pins of which are reversed in their position, being placed in the lower right-hand corner of the piano adjoining the hitch-pins. Fancy brass open frets are seen on each side of the name-plate: they were backed by colored silk glued on from the inside; the silk is still there, but the color is indistinguishable. There is only one pedal foot, of wood, constituting the forte pedal. The legs are solid mahogany, hand carved, and can be judged from the illustration. The castors are brass and are as firmly attached as on the day the piano left the factory. The piano is now in the cupola section of the Chickering factory at Boston and will not be restored or repaired. Mr. Chickering will not have it tampered with, and it will remain for an indefinite period a vivid reminder of the genius of its maker. From the new Chickering Catalogue.




is a new departure. It has a resonance chamber under the sounding board and an improved methd of stringing, whereby the Tone

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The Amateur confesses to a weakness for those charming touches of Turner's pencil, the soft and fascinating landscapes of the "Rivers of France." The book was a sort of gift book, produced by the London house of Henry G. Bohn, which commissioned the artist Turner to travel through the courses of the rivers, and draw whatever appeared to him best worthy his pencil; and a writer, Mr. Alric A. Watts, whose business it was to work up descriptions. Then the drawings were engraved on steel, losing much most always in the process, but nevertheless preserving always something of that ideality which so distinguishes Turner's vision of a landscape from that of every other artist, who draws what he sees, but unfortunately sees so little. Considered as photographs, these drawings leave something to be desired. The writer of the text tells many instances where Turner had exaggarated a feature of a building, for instance, in order to arrive better at a picturesque effect. But, on the whole, these drawings preserve the poetic spirit proper to the loveliness of the views themselves.

The book now is very scarce, and the plates are worn out. But it is not impossible by modern processes to reproduce something of the beauty of a few of them. For example, what could be more picturesque than this of the Chateau of Amboise? The soft grey shade of the steel is lost in the present treatment, but the composition and the general effect are here shown.

"At Amboise" says Mr. Watts, "the river tumbles down with such rapidity that we wondered how navigation could be carried on at all against the current without the aid of

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than the tide they instantly drop anchor; and the voyage in this manner is a succession of rest and sleepy motion." The town lies close along the river, here spanned by a bridge of

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many arches, and high over all in the background towers the Castle of Amboise.

The Loire is a shallow stream, wide and apparently

much larger than it really is. The islands which abound in it are often no more than mere banks of mud, when one comes to make their acquaintance. Nevertheless, these


wide expanses of shallow water, and these countless islands, nearly all of which are ornamented by shubbery at some


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