ers, the inventor of the "English grand action" and died very wealthy. Stodart also contributed many important improvements to the grand. He was followed by his sons, who maintained an excellent record as piano-makers up to recent years.
Sebastian Erard, the founder of the well-known house of Erard, became a leading maker in France toward the end of the last century. He was another important figure in relation to improvements in the grand piano, and also the harp. He was followed by his son Pierre, who became equally famous.
Clementi, the celebrated pianist, a Roman, began business in London in 1800 in partnership with Frederick W. Collard, the latter being the practical partner, and out of this firm the eminent house of Collard & Collard, at present known through Great Britain and Ireland as manufacturers, came. The first Collard was in his time also a great inventor.
Pleyel, Pape, and other French makers appeared soon after the beginning of the century and became famous in Europe as improvers. 
Fig. 8.—Illustrating the Partial Development of the Piano Action. Many other makers of distinction are known in relation to early piano-making in Germany and elsewhere, but detailed reference to them is impossible here.
John Broadwood introduced an important improvement in the construction of the square piano in 1783, by altering the position of the tuning-pin block—known technically as the "wrest-plank"—from the front of the instrument to the back, a system which has since then been maintained. He also made some valuable improvements in the construction and position of the sounding-board.
John Geib, a German pianomaker, patented and introduced the first "square action" of value in 1786. This became known as the "grasshopper" action, and held a leading place in England and in this country up to 1840. He also introduced the buff stop. Members of the Geib family were among the pioneer piano and organ builders in New York.
The square piano, which held a favorite place in the United States up to within the past five years, owing to the fact that it was brought to a high point of perfection here, was very popular in Europe as a household instrument up to 1807, when the "cabinet" upright took its place. William Southwell, of Dublin,
