IM- PROVEMENTS IN PIANOFORTES
Year: 1869

page_text: LETTERS PATENT to John Steward, of Wolverhampton, in the
County of Stafford, Doctor of Medicine, for the Invention of "IM-
PROVEMENTS IN PIANOFORTES."
Sealed the 3rd December 1869, and dated the 2nd July 1869.
PROVISIONAL SPECIFICATION left by the said John Steward at the
Office of the Commissioners of Patents, with his Petition, on the
2nd July 1869.
I, JOHN STEWARD, of Wolverhampton, in the County of Stafford,
Doctor of Medicine, do hereby declare the nature of the said Invention
for "IMPROVEMENTS IN PIANOFORTES," to be as follows:-
My Invention consists in constructing and arranging the parts of
pianofortes in the following manner :--My improvements are applicable
especially to grand and horizontal pianofortes, but are also in part
applicable to upright pianofortes.
I will describe my Invention as applied to a grand pianoforte. In
constructing a grand pianoforte according to my Invention I divide
the body of the instruments into three compartments, the construction

page_text: and arrangement of which compartments and their contents I will
describe separately. The first or upper compartment I denominate the
reverberating or resonant cavity. The second or under compartment
contains the strings and their requisite attachments. The third or front
compartment is for the reception of the action and its appendages. The
upper compartment or the reverberating or resonant cavity contains
the wrought-iron longitudinal tension bars, and their respective trans-
verse wrought-iron or cross bars, which are fixed firmly together with
the former at their junction with each other. The floor of this cavity
is formed by the upper or back of the sound board, which is continuous
or free from perforations, and upon which are placed a series of regularly
arranged pine wood sound bars, and in the intermediate spaces between
the bars is a series of concave depressions of sizes proper to increase
by sympathy the original sound produced by the vibration of the springs.
The under or string compartment is made by the lower surface of the
sound board, upon which are placed the common bridge and its
appendages together with the common wrought-iron stud plate, which
is fixed to the outer framework by flanges of the same material, and
upon the under surface of which the studs or screws are arranged for
the back attachment of the strings. This compartment also contains
the longitudinal wrought-iron tension and transverse brace bars joined
together similarly to those of the upper compartment, and to act in an
antagonistic manner to them.
The novel features of this compartment consist of a new arrangement
in the regulation of the bridge pins by an extra new escapement of the
strings therefrom in their progress to the tuning department, by which
the injurious pressure usually made upon the bridge is removed. The
strings after leaving the bridge and the proper length of the string
being defined pass through a peculiar brass fret, which I call a staple
fret; this is furnished with two or three slight notches or inverse
fiddle fret escapements placed under the transverse member of the staple
fret for the strings to glide upon with perfect freedom and without any
lateral pressure. This staple fret is rivetted upon a wrought-iron flat
suspended bar passing in an oblique direction in conjunction also with
an elevated brass angle bar screwed upon it describing a parallel course
a certain distance from the staple fret range. The object of the angle
bar is to secure a firm pressure and due tension of the strings when
they glide under the staple fret. From the angle bar placed upon the

page_text: suspended fret bar the strings are conducted under a solid wooden
plank and firmly attached to the moveable hooks at the bottoms of the
screws placed in the screw bar for their reception for the tuning process.
The suspension and the screw bars are both situated at the upper part
of the action compartment forming its roof, each of which is attached
to the base and treble end of the exterior wrought-iron frame." The
oblique suspension fret bar is constructed of flat wrought iron, and is
mounted with the brass staple frets and the brass angle elevation bar,
both of which pass in the same oblique direction except the latter angle
brass bar to the beginning of the copper wrapped strings, where it ceases
with the plain wires. At this point the staple frets cease also with the
angle bar, and from hence the frets are constructed like those used on
the violin (but in an inverse direction) for the wrapped wires to pass
under them with a simple notch for each string placed thereon to
conduct the strings into the screw bars at this part of the instrument.
The oblique suspension fret bar is a substitute for the common rest plank.
This bar is suspended rather more than half its length, passing in an
oblique direction from the treble to the base base end of the instrument
perfectly free between the strings and the sound. board to the part
before described, where it is fixed by screws to the solid wooden plank
adjoining the screw bar. By this contrivance the sound board can
be extended as far on one side of the bridge as on the other, and
supersedes the old mode of cutting off the sound board nearly closed
to the bridge for permitting the blow of the hammer. The surface of
the sound board is augmented several superficial feet at the base end
of the instrument. By this extension the lower tones are very much
enlarged and equalised. The screw bar through which the screws pass
for the tuning apparatus is made of wrought iron. The strings are
conducted through the screw bar by means of screws furnished with
small moveable hooks for their fixture thereon, to be drawn up for
tuning by a key placed upon a nut at the top of the screw on the
upper part of the serew bar immediately above and in the front of the
action compartment. An action such as is used in the common grand
pianoforte to strike the strings upwards is fixed in the compartment for
its appropriation together with the keyboard and its requisite pedal

page_text: the tension of the strings and other parts of the instrument is sustained.
The said framework is covered with ornamental wood. In the wood
covering of the upper part of the instrument are ornamental fretwork
apertures for the escape of the sound, and one aperture is placed also in
the treble side for the same purpose. The under or string compartment
is left quite exposed when the instrument is played upon, but at other
times it is requisite that it should be carefully covered with American
oilcloth or some such material to resist the action of the air upon the
strings and sound board.
SPECIFICATION in pursuance of the conditions of the Letters Patent,
filed by the said John Steward in the Great Seal Patent Office on
the 29th December 1869.
TO ALL TO WHOM THESE PRESENTS SHALL COME, I, JOHN
STEWARD, of Wolverhampton, in the County of Stafford, Doctor of
Medicine, send greeting.
WHEREAS Her most Excellent Majesty Queen Victoria, by Her
Letters Patent, bearing date the Second day of July, in the year
of our Lord One thousand eight hundred and sixty-nine, in the
thirty-third year of Her reign, did, for Herself, Her heirs and suc-
cessors, give and grant unto me, the said John Steward, Her special
licence that I, the said John Steward, my executors, administrators,
and assigns, or such others as I, the said John Steward, my executors,
administrators, and assigns, should at any time agree with, and no
others, from time to time and at all times thereafter 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 "IMPROVEMENTS
IN PIANOFORTES," upon the condition (amongst others) that I, the said
John Steward, my executors or administrators, by an instrument in
writing under my, or their, or one of their lands and seals, 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

page_text: NOW KNOW YE, that I, the said John Steward, do hereby declare
the nature of the said Invention, and in what manner the same is to
be performed, to be particularly described and ascertained in and by
the following statement thereof, that is to say:-.
My Invention consists in constructing and arranging the parts of
pianofortes in the following manner :-)
:-My improvements are applicable
especially to grand and horizontal pianofortes, but are also in great part
applicable to upright pianofortes.
I will describe my Invention as applied to a grand pianoforte. In
constructing a grand pianoforte according to my Invention I divide
the body of the instrument into three compartments, the construction
and arrangement of which compartments and their contents I will
describe separately. The first or upper compartment I denominate the
reverberating or resonant cavity. The second or under compartment
contains the strings and their requisite attachments. The third or front
compartment is for the reception of the action and its appendages. The
upper compartment or the reverberating or resonant cavity contains the
wrought-iron longitudinal tension bars or pins and their respective
transverse wrought-iron or cross bars, which are fixed firmly together.
with the former at their junction with each other. The floor of this
cavity is formed by the upper or back of the sound board, which is,
continuous or free from perforations, and upon which are placed a scries
of regularly arranged pine wood sound bars, and in the intermediato
spaces between the bars is a series of concave depressions of sizes proper
to increase by sympathy the original sound produced by the vibration of
the strings. The under or string compartment is made by the lower
surface of the sound board, upon which are placed the common bridge
and its appendages, together with the common wrought-iron stud plate,
which is fixed to the outer framework by flanges of the same material,
and upon the under surface of which the studs or screws are arranged for
the back attachment of the strings. This compartment also contains the
longitudinal wrought-iron tension and transverse brace bars joined'
together similarly to those of the upper compartment, and to act in an
antagonistic manner to them.
The novel features of this compartment consist of a new arrangement
in the regulation of the bridge pins by a new escapement of the strings
therefrom in their progress to the tuning department, by which the
injurious pressure usually made upon the bridge is removed. The strings

page_text: after leaving the bridge and the proper length of the string being defined
pass through a peculiar brass fret, which I call a staple fret; this is
furnished with two or three slight notches or inverse fiddle fret escape-
ments placed under the transverse member of the staple fret for the
strings to glide upon with perfect freedom and without any lateral
pressure. This staple fret is rivetted upon a wrought-iron flat suspended
bar passing in an oblique direction in conjunction also with an elevated
brass angle bar screwed upon it, describing a parallel course a certain
distance from the staple fret range. The object of the angle bar is to
secure a firm pressure and due tension of the strings when they glide
under the staple fret. From the angle bar placed upon the suspended fret
bar the strings are conducted and firmly attached to the moveable hooks,
and corresponding wire loops at the bottom of the screws placed in the
screw bar for their reception for the tuning process. The suspension, aud
the screw bars are both situated at the upper part of the action compart-
ment forming its roof, each of which is attached to the bass and treble
side of the exterior wrought-iron frame. The oblique suspension fret.
bar is constructed of flat wrought iron, and is mounted with the brass
staple frets and the brass angle elevation bar, both of which pass in the
same oblique direction about three-fourths of the width of the instrument
towards the bass side. At this point the staple frets cease also with the
metal angle bar, and from hence the frets are constructed like those
used on the violin (but in an inverse direction) for the wrapped wires to
pass under them with a simple notch for each string placed thereon to
conduct the strings into the screw bar at this part of the instrument.
The oblique suspension fret bar is placed upon and is supported the
whole of its length by a basement bar to which it is fixed, and the said
suspension fret bar is a substitute for the common rest plank. This bar
is suspended three-fourths of its width from front to back, and extends
rather more than half its length, passing in an oblique direction from the
treble to the bass side of the instrument perfectly free between the
strings and the sound board to the part before described, where it is.
fixed by screws in continuation upon its basement bar to the bass side
attachment. By this contrivance the sound board at the treble end can
be extended as far on one side of the bridge as on the the other, and
supersedes the old mode of cutting off the sound board nearly close to the
bridge for permitting the blow of the hammer. The surface of the
sound board is augmented several superficial feet at the bottom part of
the bass end of the instrument. By this extension the lower tones are

page_text: very much enlarged and equalized. The screw bar through which the
screws pass for the tuning apparatus is made of wrought iron. The
strings are conducted through the screw bar by means of screws furnished
with small moveable hooks attached to a wire loop at the bottom of the
screws for their fixture thereon, to be drawn up for tuning by a key
placed upon a nut at the top of the screw on the upper part of the
screw bar immediately above and in the front of the action com-
partment. An action such as is used in the common grand pianoforte
to strike the strings upwards is fixed in the compartment for its
appropriation, together with the keyboard dampers and its requisito pedal
movement.
The whole of the parts described are enclosed within a surrounding
wrought-iron framework, by which they are supported and by which the
tension of the strings and other parts of the instrument is sustained.
The said framework is covered with ornamental wood. In the wood
covering of the upper part of the instrument are fretwork apertures for
the escape of the sound, and an aperture is placed also in the treble side
for the same purpose. The under or string compartment is left quite
exposed when the instrument is played upon, but at other times it is
requisite that it should be carefully covered with American oilcloth, or
some such material to resist the action of the air upon the strings and
sound board.
Having explained the nature of my Invention, I will proceed to
describe, with reference to the accompanying Drawings, the manner in
which the same is to be performed.
Figure 1 represents in plan the wrought-iron framing and other parts
of a grand pianoforte constructed according to my Invention; Figure 2
is a plan of the wood top of the pianoforte; and Figure 3 is a plan of the
upper side of the sound board and, other parts of the same; Figure 4
represents a longitudinal section of the essential parts of a grand piano-
forte constructed according to my Invention; and Figure 5 represents
a plan of a portion of Figure 4; Figures 6 and 7 represent, the former
in longitudinal section and the latter in plan, a portion of the said
pianoforte on a large scale; Figure 8 is a cross section of a portion of
Figure 7, as herein-after explained. The longitudinal section, Figure 4,
is taken through the dotted line D, D, of Figure 3, and the enlarged
longitudinal section, Figure 6, is taken through the dotted line E, E,

page_text: Figure 3. The same letters of reference indicate the same parts in
each of the Figures of the Drawings.
The upper compartment or reverberating or resonant cavity is
marked A, the second or under compartment containing the strings
and requisite attachments is marked B, and the third or front compart-
ment for the reception of the action and keys is marked C. The upper
compartment A contains the wrought-iron longitudinal tension bars
or pins a and the transverse wrought-iron bars b; the latter are made
of angle iron, and through their vertical sides the longitudinal bars
or pins a pass, as will be understood by an examination of the section,
Figure 4. The bars «, after passing through the fret suspension base-
ment bar, terminate in a flange in the screw bar x, into which they
are screwed. 3, &, are angular pieces fixed on the basement bars,
the horizontal parts of which angle pieces 8, 8, are rivetted or screwed
to and support the fret suspension bar s. The space between the fret
suspension bars and the screw bar x is left open. The floor. of the
cavity A is formed by the sound board c. This sound board c is con-
tinuous, that is, has no perforations of any kind; arranged upon and
firmly glued or otherwise secured to the sound board c is a series of
pine wood sound bars, marked d, d, (see Figures 3 and 4).
in which the sound bars d, d, are arranged on the sound
be readily understood by an examination of Figure 3. The curved
dotted lines crossing the said bars d in Figure 3 indicate the position of
the bridge on the under side of the sound board. The dotted line fin
Figure 3 indicates the course of the stud plate herein-after described.
" is a sound post on the upper side of the sound board e, the upper
end of the said sound post bearing against the under side of the support
or pedestal marked f', in Figures 1 and 4. In the spaces between the
sound bars d, d, there are formed on the upper side of the sound board ca
series of shallow circular depressions marked e. These depressions, as will
be seen in Figure 3, are of small size near the treble end of the instru-
ment, and gradually increase in size towards the bass or lower part of the
instrument. I call these depressions phonic areas; they are all of
uniform depth, as will be seen by the section of the sound board in
Figure 4; they are, however, of varying diameters. These depressions
phonic areas e, e, are made in sets of three, and are so arranged as to
respond with the relative sympathies of each octave, and thereby increase
or
The manner
board c with

page_text: the original sound produced by the vibration of the string. The said
phonic areas are numbered in Figure 3 with reference to the following
table, where the varying diameters are indicated in inches and fractional
parts of an inch :-
The under compartment B is formed by the under surface of the sound
board c, upon which sound board is placed the common bridge, marked f,
and its appendages. The said compartment B also contains the common

page_text: wrought-iron stud plate g (see Figure 4). The said stud plate is fixed to
the outer framework by flanges h (see Figure 4), and upon the under sur-
face of this stud plate g the studs or screws are arranged for the back
attachment of the strings. This compartment B also contains longitu-
dinal transverse stay bars, marked respectively l, m, in Figure 4; these
stay bars are antagonistic to those in the upper compartment A, the strain
produced by the tension on the strings being equally borne by the set of
bars in the compartment A and the set in the lower compartment B. In
order to diminish the unnecessary length of string where this occurs
between the stud plate g and the bridge fI employ a series of compound
hooks of wrought iron marked n; each of these compound hooks consists
of three hooks formed at different points on the same stem or shank,
and the three strings of each note are respectively attached to each of the
three hooks of the compound hook. These compound hooks are con-
nected to the studs o in the manner represented in Figures 6 and 7. The
said hooks may however be continued through the whole of the instru-
ment. The strings p are connected by twisted wire loops of the ordinary
kind to the hooks n. In passing over the bridge f the three strings
forming one note rest in oblique grooves formed in the face of a bridge
pin q. Each of these bridge pins q consists of a rectangular brass or gun
metal head sunk into the bridge f, and a cylindrical shank or stem of
wrought iron q2 screwed at its upper end, on which is a screw nut q³
for the purpose of fixing it in its place. A cross section of one of the
bridge pins q, q, q, and the bridge fand sound board c is represented in
Figure 8, drawn to a larger scale. A much purer tone is produced by
the vibrating wire when supported in the manner described than when it
takes bearing against the ordinary bridge pin. When I use the ordinary
bridge pins, as seen in Figure 4, I employ in conjunction therewith
isolating pins, as represented in the plan, drawn to a larger scale in
Figure 4, the said Figure 4* exhibiting the course of the strings across
the said bridge and their bearings against the pins. In order to isolate
the strings from the bridge f at their point of departure I introduce the
small isolating pin p³ (represented separately in Figure 4) underneath
the wires and against the front pins, as represented, the said isolating
pin p being fixed in the bridge by one of its ends being pointed and
turned at right angles. The strings after leaving the bridge f pass
through frets r,, which have somewhat the form of a staple, and
which I call staple frets. Each of the said staple frets consists of a
rectangular loop r² in the cylinder head r, the said head being provided

page_text: with a pin which is rivetted in the suspended fret bar 8. Through the
loop or opening the wires pass. A front view of one of the staple
frets, ², is represented in Figure 9. The under side of the loop upon
which the wires bear is provided with three notches, in which the wires
lie and by which their position in the staple frets is made firm. These
notches resemble the ordinary fiddle fret escapement.
The strings
during the tuning of the instrument slide with perfect freedom and
without risk of injury in the notches of the said staple frets. The
wrought-iron suspended fret bar & passes in an oblique direction across
the instrument, as will be seen by reference to Figure 5, which repre-
sents a plan of the under side of this part of the instrument. t is a brass
bar screwed upon the under side of the suspended fret plate & and
running nearly parallel with the staple frets, as seen in Figure 5. The
strings proceed from the staple frets 1, 2, and bear against the brass
bar on their way to the moveable hooks, by which they are tightened
and tuned. The object of the said bar t is to secure a firm pressure by
the angle thus formed and due tension of the strings when they glide on
the staple frets. The strings are firmly attached by loops at their ends
by hooks u to the tuning pins v; these pins are serewed at top, and are
furnished with angular screw nuts 10, by turning which by means of a
suitable key the strings are brought to the required degree of tension
and the instrument tuned. The tuning pins work in the screw boxes
of the screw bar a, which is fixed in the upper part of the compartment C
and over the keyboard. By the arrangement of the staple frets, brass
bar, and tuning pins described and represented the sound board in the
treble can be extended nearly as far on one side the bridge as on the
other side. The sound board is also extended several superficial feet at
the lower part of the bass part of the instrument, as seen in Figures 1, 2,
and 3, by which extension the lower notes of the instrument are much
augmented and improved. The action by which the hammers are made
to strike upwards against the wires p is the ordinary grand pianoforte
action, and is provided with the ordinary dampers and pedal movements.
The parts described are enclosed in a surrounding wrought-iron frame, by
which they are supported and the tension upon the instrument sustained.
The said iron framework is covered with ornamental woodwork.
upper surface of the wood casing may have panels 1, 2, 3, 4, and 5 (see
Figure 2), which may be made of pierced or open fretwork to permit the
sound to pass through. The part or panel 6 is unperforated. The
The

page_text: vertical side of the instrument may also have perforations for the same
purpose; one of these is represented at 7 in Figure 3.
The great part of my improvements may be applied to square and
upright pianofortes.
Having now described the nature of my Invention, and the manner in
which the same is to be performed, I wish it to be understood that I do.
not limit myself to the precise details herein described and illustrated,
as the same may be varied without departing from the nature of
my Invention; but I claim as my Invention of improvements in
pianofortes,―
Firstly. The arrangement of the sound board described and repre-
sented, whereby the pianoforte is divided horizontally into two
compartments, the lower one open at bottom, and the arranging of
the strings underneath the sound board, substantially as herein-before
described and illustrated in the accompanying Drawings.
Secondly. Constructing the sound board continuously or without.
openings, and fixing thereon sound bars specially arranged for the proper
appropriation of the shallow depressions, herein called phonic areas,
substantially as hercin-before described and illustrated in the accom-
panying Drawings.
Thirdly. Making in the upper side of the sound boards of pianofortes.
shallow depressions, herein called phonic areas, for the purpose and sub-
stantially as herein-before described and illustrated in the accompanying
Drawings.
Fourthly. The construction and arrangement of longitudinal and
transverse iron tension bars both above and below the sound board,
substantially as herein-before described and illustrated in the accom-
panying Drawings.
Fifthly. Connecting the strings to the stud plate by means of the
compound hooks described and represented in the accompanying
Drawings.
Sixthly. The arrangement of the bridge on the under side of the
sound board and the notched or grooved bridge pins for the strings to rest
upon, also the isolating pins on the bridge, substantially as herein-
before described and illustrated in the accompanying Drawings.

page_text: Seventhly. The construction and arrangement of the staple frets and
brass bar over which the strings pass to the tuning mechanism, sub-
stantially as herein-before described and illustrated in the accompanying
Drawings.
Eighthly. The general arrrangement or combination of parts described
and represented in the accompanying Drawings for tuning pianofortes.
Lastly. Increasing the size of the sound board at the treble and bass
parts of the pianoforte, substantially as herein-before described and
illustrated in the accompanying Drawings.
In witness whereof, I, the said John Steward, have hereunto set
my hand and scal, this Twenty-first day of December, in the
year of our Lord One thousand eight hundred and sixty-nine.
Witness,
GEORGE SHAW.
JOHN STEWARD. (L.S.)