tions of the strings—was a difficult system to perfect, since it compelled radical changes in the disposition of the hammers, structure of the plate, and other component parts of the piano. About 1853, when the instrument had grown to still larger dimensions and power, thanks to the whole-cast metal plate, a point had been reached where it became apparent that further compass and volume of tone were impossible under accepted stringing conditions. Overstringing was the only avenue to further progress
Fig. 15.—Henry E. Steinway.
in tone-development open to piano-makers; yet few saw it, and those who did were incapable of bringing it to a practical success. The chief points of superiority over the flat scaling are that overstringing permits the dividing up of the tensional pull of the strings upon the case, while it admits of their more advantageous use from the standpoint of tone, and renders the instrument more capable of staying in tune and up to pitch—a most important consideration.
John Jardine—a very clever piano-maker—was one of the earliest to attempt overstringing in this country, but his efforts led to no permanent results. Frederick Mathushek took out a pat-
