"NAMES like Beckstein [sic] and Krause are well known in Germany as musical instrument makers, and are just as familiar there to professional and amateur musicians as the names of Erard, Broadwood, Collard, or Brinsmead are in England.

Especially for pianos, Conrad Krause of Berlin is considered in Germany as the best maker, and indeed, on every occasion when his instruments have been placed in competition with the Fatherland's makers, they have been awarded the highest prize medals.

One of the latest works of the establishment of Mr. Conrad Krause of Berlin is the piano destined for the new home of the Princess Charlotte, eldest daughter of their Royal and Imperial Highnesses the Crown Prince and Princess of Germany, and granddaughter of her Majesty the Queen, who, as is known, will be married towards the end of this year to the hereditary Prince of Meiningen.

This instrument, an illustration of which will be found on page 108 [see here above], is no doubt a work of art in the fullest sense of the word, and it certainly deserves a place within the palace of a princess, whose imperial mother patronises not only every branch of Industrial Art, but who herself occupies an eminent position amongst the artists of her adopted country.

The instrument represents in a pure architectural and elevated plastic style, combined with an ingenious arrangement, the progress of music. Not of course confined to the decorated exterior alone, the inner construction also has been carried out with the greatest precision; there are combinations of novel construction for increasing the harmony, elasticity and modulus of expression.

Regarding the exterior as a work of art, we find, as shown in the illustration, that the key-board is carried by two large eagles resting with out-spread wings on tortoises.

They are intended to represent power and force, whilst a large lion's head forms the centre of the under-frame.

The white casing, the sides as well as the under-frames, are carved out of the solid timber, and not veneered, as is usual, display with wonderful ease and certainty of execution; the ornaments are after the wellknown phæstons of Raphael.

The upper frame carries, on a tastefully formed support, the beautifully executed bust of the Crown Princess of Germany (after Euke's model) as protectress of arts; the dolphins surrounded by wreaths of laurels placed at the sides of the bust seem to be intended as symbols of respect and veneration to the princess.

As a final decoration for this rare work of art, Mr. Krause has chosen a frontal of real beauty, the carving of which exhibits considerable power and facility of invention and execution; it represents a flower vase, which is approached through water lilies by two swans, symbols of the pliability of music and its eternal influence on human mind.

The corners of the desk are formed by two sphinxes, between which will be recognized, in highly ornamental ad symbolic decorations, the name of the manufacturer, who has been honoured for his excellent works with the great medal of the society.

«Circolo Frentano in Lavino pro litteris et artibus.» The whole of the carving is by Mr. Daehns, and we may rightly say that the birds, isntruments, and figures show an astonishing dexterity, whilst the garlands and flowers sweep round in bold and harmonious curves.

We cannot bring ourselves to say that an examination of the carving fills us with envy, but it certainly does with regret, to think how far behind the age we are in designs, not only for our pianos, but for all other articles intended for ornament or use.

We used to think-judging from the specimens of continental pianoforte making imported into this country-that we had the upper hand of foreign makers, not only with respect to purity of tone, but also in beauty of construction.

People like Pleyel and Krause, however, are opening our eyes to our imperfections, and we are beginning to see that, although we can get a very good instrument, from a musical point of view, for 250 guineas, we cannot produce a work of art.

There is absolutely no æsthetic improvement in the productions of Broadwood and Collard for the last twenty years. One enterprising firm we have that of Brinsmead. We only hope they will continue to work as they work at present.

If so, we anticipate that before long we may venture to hold our own, even against such artists as Beckstein and Krause.

The materials usually employed in the construction of a piano are : oak, from Riga, for the frame; deal, from Norway, for the bracings; fir, from Switzerland, for the sounding-board; pine, from America, for the key bottoms; mahogany, from Honduras and Cuba, enters largely into the construction; the wrest plank, bridges and bent sides are of English beech; English lime, pear and sycamore for keys and small work; cedar, from South America, for hammer shanks; whilst ebony from Ceylon, rosewood from Rio de Janeiro, satin wood from the remote East, oak, white holly, walnut, native and foreign - such as Persian and Circassian-and zebra wood, from Brazil, are used for the exterior decorations.

Of leather, buffalo, calf, morocco, sheepskin, doeskin, basil and sole leather.

Of the metals, iron, steel, brass and copper, for screws, bracings, springs, centres, etc.; ivory for the keys, with a host of smaller articles for smoothing, polishing, and lubricating, and these all of the very best materials, and in the best condition.

The piano is of comparatively modern origin. We read  in an old play-bill of about one hundred years ago :

"For the benefit of Miss Brickler, May 16th, 1767. ** At the end of the first act, Miss Brickler will sing a favourite song from 'Judith,' accompanied by Mr. Dibdin, on a new instrument called the Pianoforte." Industrial art, ed. by J.H. Lamprey, 1877, p. 116