IMPROVEMENTS IN WIND MUSICAL INSTRU- MENTS
Year: 1854

page_text: LETTERS PATENT to John Henry Pape, of Paris, No. 19, Rue des Bons
Enfants, for the Invention of "IMPROVEMENTS IN WIND MUSICAL INSTRU-
MENTS."
Sealed the 2nd March 1855, and dated the 5th September 1854.
PROVISIONAL SPECIFICATION left by the said John Henry Pape at the
Office of the Commissioners of Patents, with his Petition, on the
5th September 1854.
I, JOHN HENRY PAPE, of Paris, No. 19, Rue des Bons Enfants, do hereby
declare the nature of the Invention for "IMPROVEMENTS IN WIND MUSICAL
INSTRUMENTS" to be as follows:-
The object of this Invention is to construct a peculiar wind musical instru-
ment wherein metal reeds are used, such as are commonly used in other wind
musical instruments.
For this purpose each key is caused to put in motion two hammers, each of
which strikes separate reeds or metal tongues, which cover two openings; and
simultaneously the key also acts on two valves to open passages for air to act
on the two reeds, and in this manner is a wind musical instrument constructed
according to the number of notes desired.

page_text: I place the bellows, which may be two, three, or four in number, where the
pedals have heretofore been placed, by which arrangement the size of the
instrument is considerably diminished.
SPECIFICATION in pursuance of the conditions of the Letters Patent, filed
by the said John Henry Pape in the Great Seal Patent Office on
2nd March 1855.
the
TO ALL TO WHOM THESE PRESENTS SHALL COME, I, JOHN
HENRY PAPE, of Paris, No. 19, Rue des Bons Enfants, send greeting.
WHEREAS Her most Excellent Majesty Queen Victoria, by Her Letters
Patent, bearing date the Fifth day of September, in the year of our Lord One
thousand eight hundred and fifty-four, in the eighteenth year of Her reign,
did, for Herself, 1er heirs and successors, give and grant unto me, the
said John Henry Pape, Her special licence that I, the said John Henry
Pape, my executors, administrators, and assigns, or such others as I, the
said John Henry Pape, my exccutors, administrators, and assigns, should at
any time agree with, and no others, from time to time and at all times there-
after during the term therein expressed, should and lawfully might make,
use, exercise, and vend, within the United Kingdom of Great Britain and
Ireland, the Channel Islands, and Isle of Man, an Invention for "IMPROVE-
DIENTS IN WIND MUSICAL INSTRUMENTS," upon the condition (amongst others)
that I, the said John Henry Pape, by an instrument in writing under my
hand and seal, should particularly describe and ascertain the nature of the
said Invention, and in what manner the same was to be performed, and cause
the same to be filed in the Great Seal Patent Office within six calendar
months next and immediately after the date of the said Letters Patent.
NOW KNOW YE, that I, the said John Henry Pape, do hereby declare
the nature of the said Invention, and in what manner the same is to be per-
formed, to be particularly described and ascertained in and by the following
statement thereof (that is to say):-
The object of this Invention is to construct a peculiar wind musical in-
strument wherein different sorts of metal reeds (lames libres) and tongues
are used.
Figure 1, section. A, key; B, balance; C, lever of the hopper. fixed on the
key by the screw D. This lever contains at its extremity the hopper E, which

page_text: has its centre F. G, spring, which acts on the hopper to press it back to its
place after the escapment, which escapment is produced by the brass screw
H. By pressing down the key, the hammer nut I is turned on its centre J,
which passes through the hammer shank L. This hammer shank receives a
brass wire M, surmounted by the hammer N. O, small wooden piece fixed
on the hammer shank L. This piece contains another one with its centre P,
and in which enters the second hammer Q, similar to the first. The hammer
when put in motion presses on the screw R, which lifts it up at the same time
as the other is brought down. By these incans the two tongues S and T are
struck together, and produce a powerful and quickly given tone. These
hammers are here placed in the inside of the wind box U, and can be taken
out through the opening V. This opening is closed by the small block W,
which is covered with leather and fixed by its two screws X. Y, an elastic
cord to take up the hammer. The wind passes through the openings Z, formed
of zinc plates, and separated according to the width of each key, as may be
seen at Figure 3. These openings are in the form of flute tubes, and con-
siderably increase the tone. The two valves a and b are opened, and act as
shown on the Drawing. c, sort of valve by which the tone can be changed,
and can imitate several wind musical instruments, as will be further described
in the next Figure.
Figure 2, section on the same principle, and only differing by the hammer,
which is placed in the wind passage, and strikes the tongue against the wind,
in direct contradiction to the other system. The hopper A is the same
as in Figure 1, but acts on the hammer shank B. After the escapment it
lifts up the second hammer shank C, which opens the valve D immediately
after the hammers have touched either the reed E or the tongue F. G, brass
plate for the treble, which contains the tongues and reeds struck by the
hammers. This system presents the advantage of not putting the instrument
out of tune by the stroke of the hammer. In the bass, instead of a brass
plate, the openings in which the tongues play are made in the solid hard
wood, all of one piece. When soft tones are required, the tongues are made
of whalebone, horn, tortoiseshell, or other elastic substances. II, sort of valve
adapted to the box I, by hinges, and opened more or less by the buttons J,
according to the tone required. This system is also very favorable to the tone.
All the other parts of the action are the same as in Figure 1.
Figure 3: the zine box is here represented in a horizontal position, but 1
often place it vertically, as in Figure 1. The lines A and B are the openings
of the wind box, on which are placed the tongues C; on the openings D and

page_text: E are placed the valves; the round holes F serve for a second set for the
treble only. The shape of this zinc box is calculated mathematically, and
seems to be the most favorable for this kind of instrument.
Figure 4, same system as the other Figure, applied to an arm chair, and
with the only difference required by the shape of the piece of furniture. A
and B, bellows, which communicate directly to the air reservoir C, which is
made of india-rubber or leather. This reservoir forms at the same time the
seat and the back of the arm chair, and communicates with the air passage
formed by the framework D of the seat, and the two vertical continuations
of the front legs E and F. On the one E is placed the wind box G, the same
as described in Figure 1, with this only difference, that it is cut into two in
order to form the left arm of the chair. When it is wanted, the part H is
turned over on its centre I, and the whole wind box is turned on the vertical
piece E, which forms a round tenant K, with an opening, through which
the wind passes to the wind box G, which is in the position represented in
Figure 5. I mean to say that the finger board is placed directly on the wind
box G. The keys of the finger board and the valves are made as represented
in Figure 5, and can be used in different positions, particularly in pianofortes.
J, valve, the same as Figure 2, with this only difference, that it is regulated
directly by the hand.
Figure 5, section. A, wind box; B, tongue fixed upon the casier C; D,
opening through which the wind passes; E, valve, which is opened by the
key F, having its centre G; II, little square plank, which forms the stop, as
has already been explained. This system can be used in any kind of organ or
pianoforte as second finger board.
Figure 6, plan. F, vertical piece, square and hollow, like the left one, to let
the wind pass. I make use of this arrangement in order to add different
wind musical instruments, one or more on each side, as is represented in the
Drawing.
Figure 7, bellows, which are set in the usual place of the pedals, and are
put in motion by the immediate touch of the foot, so that no pedal is wanted.
I generally employ four bellows, two large ones and two small, which may be
used all four together by touching two with each foot; or the large ones may
be used as reservoirs only, and by this means serve to give what is called
expression. A, bellows, which communicate directly with the air reservoir
B, made of the two sounding boards C and D, one of which forms the back
of the instrument, and leaves inside an opening. These two sounding boards
are pressed together by several springs E, and are opened by the pressure of

page_text: the wind.
This Invention is of great importance, for the reason that the size
of the instrument is considerably diminished.
In witness whereof, I, the said John Henry Pape, have hereunto set my
hand and seal, this Twenty-third day of February, in the year of our
Lord One thousand eight hundred and fifty-five.
J. H. PAPE. (L.S.)
Witness,
THOMAS PICKFORD,
Her Britannic Majesty's Consul at Paris.