Others besides himself were working for the same end,
and he knew that he would have to bear the test of determined and
intelligent competition. He applied himself to his purpose with
enthusiasm. He carefully studied the theory of atmospheric vibration and
musical combination, as well as an application of the principles of
mechanical philosophy to the construction of the instrument. He went
deep into the science involved in his work, into the philosophy of
melody. Passionately devoted to music, he was ambitious of placing that
which has been so truly called "the king of instruments" within the
reach of all lovers of harmony, and to give them the best instrument
that human invention could produce--an instrument which should not only
withstand atmospheric changes, but which should yield the richest,
fullest volume of melody, with the least exertion to the performer. His
progress was slow, but it was sure. Beginning with an improvement in
the action, he accomplished, in a great measure (in 1838), his plan for
preserving the permanence and purity of the tone of the instrument by
casting the entire iron framing with the parallel bars in one piece.
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