coiled strings in the bass, doing away with tension. Lastly, he sought
for a _sostinente_, which has been tried for from generation to
generation, always to fail, but which, even if it does succeed, will
produce another kind of instrument, not a pianoforte, which owes so much
of its charm to its unsatiating, evanescent tone.

[Transcribers note 1: 3rd digit illegible, best guess from context.]

[Illustration: Fig. 5.--MEYER.]

Once introduced into Hawkins' native country, England, the rise of the
upright piano became rapid. In 1807, at latest, the now obsolete high
cabinet piano was fairly launched. In 1811, Wornum produced a diagonal.
In 1813, a vertical cottage piano. Previously, essays had been made to
place a square piano upright on its side, for which Southwell, an Irish
maker, took out a patent in 1798; and I can fortunately show you one of
these instruments, kindly lent for this paper by Mr. Walter Gilbey. I
have also been favored with photographs by Mr. Simpson, of Dundee, of a
precisely similar upright square. I show his drawing of the action--the
Southwell sticker action. W. F. Collard patented another similar
experiment in 1811. At first the sticker action with a leather hinge
to the hammer-butt was the favorite, and lasted long in England. The
French, however, were quick to recognize the greater merit of Wornum's
principle of the crank action, which, and strangely enough through
France, has become very generally adopted in England, as well as Germany
and elsewhere. I regret I am unable to show a model of the original
crank action, but Mr. Wornum has favored me with an early engraving of
his father's invention. It was originally intended for the high cabinet
piano, and a patent was taken out for it in 1826. But many difficulties
arose, and it was not until 1829 that the first cabinet was so finished.