Wornum then applied it in the same year to the small upright--the
piccolo, as he called it--the principle of which was, through Pleyel and
Pape, adopted for the piano manufacture in Paris. Within the last few
years we have seen the general introduction of Bord's little pianino,
called in England, ungrammatically enough, pianette, in the action of
which that maker cleverly introduced the spiral spring. And, also, of
those large German overstrung and double overstrung upright pianos,
which, originally derived from America, have so far met with favor and
sale in this country as to induce some English makers, at least in the
principle, to copy them.

[Illustration: Fig. 6.--STEINWAY.]

I will conclude this historical sketch by remarking, and as a remarkable
historical fact, that the English firms which in the last century
introduced the pianoforte, to whose honorable exertions we owe a debt of
gratitude, with the exception of Stodart, still exist, and are in the
front rank of the world's competition. I will name Broadwood (whose flag
I serve under), Collard (in the last years of the last century known
as Longman and Clementi), Erard (the London branch), Kirkman, and, I
believe, Wornum. On the Continent there is the Paris Erard house; and,
at Vienna, Streicher, a firm which descends directly from Stein of
Augsburg, the inventor of the German pianoforte, the favorite of Mozart,
and of Beethoven in his virtuoso period, for he used Stein's grands at
Bonn. Distinguished names have risen in the present century, some of
whom have been referred to. To those already mentioned, I should like
to add the names of Hopkinson and Brinsmead in England; Bechstein and
Bluthner in Germany; all well-known makers.

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