informed that such an instrument Handel felt himself
fortunate to possess!

Next, the piano,--invented at Florence in 1710, by Bartolommeo
Cristofali.

The essential difference between a harpsichord and a piano is described
by the first name given to the piano, which was _hammer-harpsichord_, i.
e. a harpsichord the strings of which were struck by hammers, not
twanged by quills. The next name given to it was _forte-piano_, which
signified soft, with power; and this name became _piano-forte_, which it
still retains. One hundred years were required to prove to the musical
public the value of an invention without which no further development of
stringed instruments had been possible. No improvement in the mere
mechanism of the harpsichord could ever have overcome the trivial effect
of the twanging of the strings by pieces of quill; but the moment the
hammer principle was introduced, nothing was wanting but improved
mechanism to make it universal. It required, however, a century to
produce the improvements sufficient to give the piano equal standing
with the harpsichord. The first pianos gave forth a dull and feeble
sound to ears accustomed to the clear and harp-like notes of the
fashionable instrument.

In that same upper room of the Messrs. Chickering, near the spinet just
mentioned, there is an instrument, made perhaps about the year 1800,
which explains why the piano was so slow in making its way. It resembles
in form and size a grand piano of the present time, though of coarsest
finish and most primitive construction, with thin, square, kitchen-table
legs, and wooden knobs for castors. This interesting instrument has two
rows of keys, and is _both_ a harpsichord and a piano,--one set of keys
twanging the wires, and the other set striking them. The effect of the
piano notes is so faint and dull, that we cannot wonder at the general
preference for the harpsichord for so many years. It appears to have
been a common thing in the last century to combine two or more
instruments in one. Dr. Charles Burney, writing in 1770, mentions "a
very curious keyed instrument" made under the direction of Frederick II.
of Prussia. "It is in shape like a large clavichord, has several changes
of stops, and is occasionally a harp, a harpsichord, a lute, or
piano-forte; but the most curious property of this instrument is, that,
by drawing out the keys, the hammers are transferred to different
strings. By which means a composition may be tr