IMPROVEMENTS IN PIANOFORTES
Year: 1879

page_text: LETTERS PATENT to John Brinsmead, of the Firm of John Brinsmead and
Sons, of Wigmore Street, Cavendish Square, in the County of Middlesex, for
the Invention of "IMPROVEMENTS IN PIANOFORTES."
PROVISIONAL SPECIFICATION left by the said John Brinsmead at the Office
of the Commissioners of Patents on the 18th March 1879.
JOHN BRINSMEAD, of the Firm of John Brinsmead and Sons, of Wigmore Street,
Cavendish Square, in the County of Middlesex. "IMPROVEMENTS IN PIANO-
FORTES.
"
This Invention relates to improvements in pianofortes, the first of which improve-
ments relates to a repeater check action. This is an improvement on my pianoforte
action for grands and uprights Patent dated 6th March 1868, No. 774, and consists
of the combination of a bevil from the top of the jack and a connection between
the butt and the jack by means of a loop and spring, the loop being immediately
over the notch, and the hook of the spring being above the jack.
The escapement is effected by means of an arm at the bottom of the jack.
The second part of my Invention relates to a consolidated metal frame for
horizontal grand pianos.
•
According to this portion of my Invention the complete metal framing is cast in
one piece with an improved plate and wrest plank, the iron bars at back and front
of wrest plank being cast with the longitudinal bars. The down pressure bar is
made with feet on one edge to avoid the possibility of its moving out of its hori-
zontal line.
The third part of my Invention relates to a tone sustaining pedal, and consists
of various appliances for holding up the dampers of any note or notes which have
been struck, one plan being effected by a small pointed lever fixed to a centred rail
placed over the damper lever, the fork of the damper lever having a tongue behind.
When the note has been struck and the pedal used, the pointed lever passes
under the tongue holding up the damper. Other notes being struck, the tongues
raise up the pointed levers.
Another plan is to employ a wire spring with a loop formed at one end, the
other end being fixed in the end of the damper lever. The front end is held down

page_text: by a silk loop. A metal rail with a stretched cord is adjusted over the springs.
After a note has been struck and the pedal has been pressed down the cord passes
under the looped end of the spring holding up the damper. When other notes are
struck the springs yield to the cord.
The fourth part of my Invention relates to a soshenente sounding board.
According to this part of my Invention the sounding board is thinned at the edges
and either left thick or thickened up in the middle; round the edges is a
wooden rim to which the sounding board is secured. In some cases the bridges are
mounted by a broad base glued to the sounding board.
The fifth part of my,Invention relates to a double escapement action. This
improvement is of great importance to the sticker action.
According to this part of my Invention the hopper is bevelled from the top, and
the escapement is regulated by means of the ordinary button. After this has been
effected a second button presses on the top of the lever, and the possibility of
blocking in a damp situation is thus prevented.
The second button also acts as a check on the lever, and the hopper acts more
powerfully on the lever, and a better blow is thus given by the hammer than by
the ordinary action.
The sixth and last part of my Invention relates to a tone adjuster. According
to this portion of the Invention I use springs of various descriptions to regulate
the tone of the piano by pressure against the sounding-board. The shapes can be
helical, bent, or of other forms; they press against the sounding board and thus
connect it with the bracings.
*
I sometimes regulate the strength of the springs by means of screws which pass
through or else hetween the bracings, but I occasionally regulate the springs
without the screws.

page_text: SPECIFICATION in pursuance of the conditions of the Letters Patent filed by
the said John Brinsmead in the Great Seal Patent Office on the 18th
September 1879.
JOHN BRINSMEAD, of the Firm of John Brinsmead and Sons, of Wigmore
Street, Cavendish Square, in the County of Middlesex. "IMPROVEMENTS IN
PIANOFORTES."
This Invention relates to improvements in the construction of all classes of
pianofortes.
::
The first part of my Invention, shown in Figure 1 of the Drawings, relates to an
improvement in the check action patented by me on the 6th March 1868, No. 774,
and consists in the combination of a bevil a from the top of the jack or hopper b,
and a loop c and spring d, the loop being immediately over or above the notch e
in butt and also over the top of the jack, the spring being fixed in the bottom part
of jack, the other end of it being formed with a hook. The hook of the spring dis
passed into the loop c, and the butt, loop, spring, and jack are thus connected with
each other; the escapement is produced or effected by an arm fat right angles with
the jack; it is also a part of jack or in the same body; this arm when in action
presses on a button g which throws the jack out of the notch in the butt, and by
this means the escapement is effected.
In this position (after escapement) the spring d is at its utmost tension, and with
the smallest mótion or relief of the key h the spring reinstates the jack in the notcli
of the butt ready to give another blow, called "repeat."
The damper frame i (which may be made in wood or other material) is applied
to an upright under the damper action, which has considerable advantages over the
ordinary plan where the centres of the levers j are fixed to the hammer, rail, and
the forte pedal moving the damper levers entirely free of the lever spur 1; the
ordinary plan occasions a great difference in the weight of touch to the finger of
the performer when loud pedal is in use. In the arrangement shown there is no
such difference of weight of touch to the finger of the performer.
The centres of the damper levers being moved forward by the forte pedal the
tail of the damper lever j remains on the spur 7 while the damper heads m are
brought from the string n. By this combination the touch remains the same in
weight as before the forte pedal was put down. It is also more durable, the spur
being longer and the damper lever centre o set higher up, which makes nearly a
straight line with the touching point of the spur and the centre of the two levers,
thus saving a larger amount of friction and admitting of a lighter spring ;* being
used, the arm acting near the damper head, the lever, centre block, and spur being
placed higher up and near the centre of the length of damper lever,
The arrangement of the damper will be understood by referring to Figures 1, 2,
and 3 of the Drawings.
t
The damper levers j are secured to the bars i in the metal damper frame; this
frame is about inch thick and. inch or.so wide, more or less, and as long as the
dampers require it. 3, 4, or more metal arms i, shown also in Figures 2 and 3,
which are a front and side view respectively of the metal frame, are fixed to it at a
right or any other angle. At the bottom of the frame its centre plates A are fitted
and fixed to the hammer rail k near the line of lever spur . At the top of the arm
the stop rail B, covered with cloth, is screwed. The bar is pressed forward by a
crank or lever fixed to the case or action with a spring under the bar to return
it, and a block covered with cloth screwed or fixed to back of action to stop the
same.
The second part of my Invention relates to a consolidated metal frame for hori-
zontal grand or upright pianos.
According to this portion of my Invention the complete metal framing is cast in

page_text: pressure bar, shown in end view, Figure 5, is made with feet t on one edge, taking
a bearing on the plank to prevent its canting and to avoid the possibility of its
moving out of its horizontal line.
The frame is formed with a taper dovetailed groove or channel t'. to receive the
wrest plank bridge u which is driven in from one end; this is an important feature,
as the taper dovetail form of the groove grips the bridge secure and prevents its
rising in pinning, and the act of driving the wooden bridge into its place not only
tightens it sideways but downwards also, and compels it to bed well on the bottom
of the groove. Sometimes I use a metal bridge u, Figure 5ª, cast on the frame as
usual, and then I use the down pressure bar, as shown in Figure 5.
In an ordinary wooden back upright pianoforte I form the tapered dovetailed
groove or channel in the form of an angled bar cast with tapered dovetail
groove t¹ to receive the wrest plank bridge u; this bar also keeps the wrest plank
straight and prevents the plank from dipping or pulling downwards, it being
supported by a number of tubular supports v, as shown in Figure 6. I have also
an invert dovetail key and wedge to connect wrest plank to bracings or supports,
Figure 6; these keys or invert dovetail wedges 8 are in two parts cut at an angle,
shown in Drawings, Figures 7, 8, 9, so by placing one half in groove made in plank
and bracing and then the other half in the same groove, and drawing together with
clamp or such like tool, or even driving the same by hammer, unites bracing to
wrest plank or belt, as will be well understood on reference to the Drawings.
The third part of my Invention relates to a tone sustaining pedal for grand
pianos, and consists of a combination of appliances for holding up the damper of
any note or notes which have been struck, as seen in Figures 10 and 10", which
show this part of my Invention as applied to a horizontal piano. One plan is
effected by a small pointed lever w, pivotted to a hinged centre rail x, placed behind
the damper lever j, the fork of the damper lever having a tongue y behind. When
a note has been struck and the pedal used the pointed lever w passes under the
tongue y holding up the damper, and sustaining the said note, as shown in Figure
10. Other notes being struck while the aforesaid damper is held up, the tongues y
simply raise the pointed levers of their respective keys without producing any effect.
The position of the point of the lever wis regulated by the screw or pin z in the
hinged centre rail x. Figure 10° shows the position of the parts previous to the
note being struck.
Another plan shown in Figures 11, 12, 13, 14, and 15, in which Figures 11 and
12 show this part of my Invention, as fitted to an upright piano; Figures 13 and
14 as applied to grand pianos, and 15 to grand oblique pianos, is to employ a wire
spring a', preferably with a hook b' formed at one end, the other end being fixed
in the end of a damper lever. The front end is held down by a silk loop d'.
A metal rail or frame e', with a stretched cord f¹ is adjusted over the spring. This
metal frame is shown separately in Figure 16. This metal frame is so constructed
that the arms e² are springs to keep the cord f1 tight; and to compensate for
differences of temperature I put a helical spring k¹ on the end, that spring being
regulated by a screw nut . The back tension rod m¹ is also regulated by a screw
nut n¹, shown in Figure 16; o³ are the eyes attached to the damper rail p', in which
the metal frame e¹ works as a centre; Figure 13 shows the action previous to the
note being struck with the damper on, while Figure 14 shows the same after the
note has been struck when the damper is off. After a note has been struck and
the pedal has been pressed down, the cord f' is passed by the action of the pedal
stick g¹ on the arm h¹ of the metal frame c¹ under the looped end of the spring a¹
holding up the damper i. When other notes are struck the springs yield to the
cord.
In ordinary upright pianos the silk loop d' is replaced by a small block of felt j',
shown in Figures 11 and 12, the reason of this is that in upright pianos the cord f¹
of the metal frame receives the pressure through the felt block j³, which it could not
do if a loop were employed..
1
Figure 11 shews the action previous to a note being struck with the damper on the

page_text: string, and Figure 12 the same action, with the damper lever supported by its spring
a' resting on the cord f¹ of the metal frame and the damper off. A slit is cut in the felt
block j to receive the spring, as shown. In connection with this part of my Inven-
tion and to allow the tone to swell or increase I place two or more sliding panels
in front of the piano, which panels are fretted or cut with holes to any design; these
panels work upon each other, and the back or front one, as desired, works in a
groove backwards or forwards, upwards or downwards, or even at an angle, and is
worked by a crank acted on with a pedal stick, it also can be worked by a knee
movement like an harmonium or American organ. When either of these panels,
which may be moved by crank or by pully and line, or by the other methods
shown in the Drawings, is in one position, the openings in the panels will be oppo-
site each other, and the front of the pianoforte will be open, but when the openings
of one panel are opposite the blank of the other the front of the pianoforte will be
shut, similar to what is produced in a common round ventilator. The moving
panel or panels are brought back by springs or weights. I sometimes cut my panel
in two or more parts and open it in the centre or other part, as I may think fit.
Figures 17 and 18, 19 and 20, 21 and 22, and Figure 23 show my sliding panels
and several arrangements for opening and closing the same.
In Figure 17, q' is the front panel, shown with several openings r¹ of gothic shape,
and Figure 18 shows the inner or back panels s', with openings t¹ of similar form.
In this example the inner panel s¹ is moved in one direction, say to open by the
action of the bell crank lever u¹, acted on by the pedal stick g', and is shut by the
spring v¹, or it may be by a weight, or it may be opened by a weight attached to
the cord w', in the manner well known. The arrangement to the right of Figure
18 shows the panel s¹ as acted upon by a bell crank u¹ taking against the short
arm of a lever x, pivotted at y', the long arm 2¹ being connected to the panel
through the link a², which latter is pivotted to the panel. The holes 63 in the lever
zare to enable the fulcrum to be adjusted to suit the amount of motion to the
amount of opening of the panel required.
Figures 19 and 20 show the sliding panels as moved in one direction by two link
pieces c², connected to the pedal stick gl, an upward movement of g¹ shutting the
panels, assisted by the springs v¹, and a downward movement of g¹ opening them.
Figures 21 and 22 show the panels as worked by a lever d³, pivotted at e²; the
lever d² is slotted at each end at f?; and a pin g², one on each panel, takes into
the slots f2. A to and fro motion imparted to the lever d² by the rod h² under
the action of the pedal opens or closes the panels as desired. The spring v³ assists
to close the panels as before. In Figure 21 the panels are shown closed, and in
Figure 22 open. In Figure 23 the lever d² is shown as connected to the adjoining
panels by a link ³, one at each end of the lever, in lieu of the slots and pins as in
the previous example.
The fourth part of my Invention relates to a sostenente sounding board. The
construction of this part will be readily understood by reference to the accom-
panying Drawings.
Figure 24 is a plan view of my sostenente sounding board; Figure 25 is a section
through the bridge, mount, and sounding board; and Figures 26 and 26ª, are
sections through the treble portion of my sostenente sounding board, showing also
the rim by which it is glued to the case.
It will there be seen that I taper or thin my sounding board around the edges
or outer part 2, where it is glued to the rim and case 2, seen in Figure 26, the
sounding board is worked or thinned down according to the form and position of
the bridges 2, shown in dotted lines in Figure 26, so that it is somewhat similar
to a beam for supporting weight, thick and strong in the middle and near the
bridge, and thin at its edges, causing it to "sustain." I sometimes put my bridges
on a mount m², that is, a piece of wood glued on top of the sounding board to
receive the bridges, this mount is between the bridge and the sounding board
running under all the belly bridges. Towards the bass part of the belly of the

page_text: sounding board, the mount m² is kept back or nearer the centre of the sounding
board, the bass bridge n² is glued and screwed to the mount m³, this bridge n²
hangs over or on one side of the mount, as shown in Figure 24 in dotted lines; I
sometimes put my mount on underside of sounding board; I do not bind myself
either way.
In bass end of bass bridge, an end view of which is seen in Figure 27, I insert
a wood tongue o² about two inches deep, seen in Figure 28, which shows part side
view of bridge, and end of tongue o². This tongue crosses the bridge and gives it
a spring like effect, and prevents its splitting or cracking. The rim /² that the
sounding board is glued upon is about the 3 of an inch in thickness, that being
so it vibrates like the sounding board, and takes its base of vibration at the base
or bottom of the rim, where it is secured and glued to case, thus the two vibrate as
one body, sounding board, rim, and even to the back.
To assist my sostenente power, the back of my pianoforte is supported or
suspended from the back castors. On looking at Figure 29, which is a view of a
piano back, the manner of supporting or suspending the same will be seen.. At
each end or in middle of piano, I place a support column p². On the bottom end
of this support or column p² is the castor q2, and the top of the column rests in a
block, or on the wrest plank, or any other suitable part. This column or support
can either be made of wood, metal, or other material, and solid or tubular as desired.
I have shown in Figure 29 the back of a pianoforte supported by tubes; these
tubes have a tapped socket 82 at the top end, and that socket is firmly fixed in the
block or its equivalent.
After the socket is well fixed, I screw the support på into the socket as far as
required. This support passes through a hole in the bottom block t2 shown in the
Drawing, that hole is lined with indiarubber or other yielding material; I some-
times put the support outside of the piano, and at the back, or either end of it, or
even in the middle. When the piano is moved upon its castors, the supports will
drag or spring near and perhaps touch the lining of the hole in the bottom block,
and stop the vibrations, when this happens, the support being firmly fixed, by
lifting the instrument the support will go back to its proper position and in the
centre of the hole.
Figure 30 is a view from the underside of an upright piano, showing the bottom
block and the holes for the columns p².
The fifth part of my Invention relates to a double escapement action. This
improvement is of great importance to the sticker action.
According to this part of my Invention which is shown in Figures 31 and 32,
the hopper bis bevelled from the top, and the escapement is regulated by means of
the ordinary button g. As the hopper b is carrying up the lever u² to cause or
produce the blow the lever receives a check by a button 2, this button is worked
or regulated by a screw pin w², like that of a common hopper pin through a rail,
as will be seen in Figures 31 and 32.
The lever u² receives a check on top from the button v placed in front of the
sticker, this check button v² can be placed at back of sticker if preferred.
I do not limit myself either way, but prefer the button in front of the sticker;
this button is covered with indiarubber, cloth, or felt, or any other soft material
generally used.
When the lever u² receives the check from the button, it causes the hopper b
to set off or escape, it being the termination of the action of the lever, and as the
hopper and key have a little more action through the giving or compression of the
front baize, this also helps the escapement as the lever at this time is fixed through
the check button 2 bearing on the top of the lever u², and the possibility of
blocking in damp situations is thus obviated.
There is a very valuable advantage obtained through having the button to check
the lever, and that advantage is as follows:-
This check button stopping the action of the lever at the point required is

page_text: certain to produce an escapement; I then can place my hopper further under the
lever u, producing a firmer and a much more powerful blow of the hammer on the
string.
Figure 31 shows the button clear of the lever u², and the action in the
position it occupies previous to the key being struck, and Figure 32 shows the
saine action after the key has been struck, the button 2 checking the further
motion of the lever u², and the hopper b as having effected its escapement.
The sixth part of my Invention relates to a tone adjuster.
According to this portion of my Invention, I use springs of various descriptions
to regulate the tone of pianofortes by pressure against the sounding boards. The
shape of the springs can be helical as in Figure 35, or bent as in Figure 35*, or of
other form. These springs press against the back or front, or pull from the front
or back, or press or pull against the sounding board, bass bridges, or any part of
the sounding board, or any part connected with the same.
Figures 33, 34, and 35 show how I carry out this portion of my Invention.
I sometimes regulate the strength of the springs x2 by means of screws y³ which
pass through the bracings 22, or else between the bracings 22, and through blocks a³,
or by the side of blocks or bracings, as shown in Figures 33 and 34. The blocks a³
are held by the metal hook pieces C, shown in Figures 34, 34ª, and 34b.
Figure 34 shows a section of the block as, and bracings 23 on a larger scale. I
can also regulate the strength of the springs x², and produce the same effect by
having the springs 3 secured to a lever or crank, this lever or crank would be
centred on a pin, and would regulate from the other end of lever or crank, as shown
in dotted lines at D, in Figure 35, wedges passing through the block a³ or bracing
2, and bearing upon the springs 2 may also be used to adjust, and should these
springs not produce the exact quality of tone or put enough pressure on the sound-
ing board, another alternative plan is as follows, the object being to regulate the
down bearing pressure or weight on the sounding board, produced by the strings
or wires being brought out of a straight line through a compensatory or adjusting
pressure bar:
Figure 36 is a section, and Figure 37 an elevation of a common upright piano
back. I shall first describe the sectional view of back plate, sounding board, and
strings or wires shown in Figure 36. This section also shows the compensating
and adjusting pressure bar by which the down bearing of the strings on the bridges
is increased or decreased at will. This bar 63 (or it may be bars) is in front of the
bass plate c, as seen in Figures 36 and 37, placed at an angle between the pins d³
in the base plate and bridge e³ on sounding board.
The strings fs are hitched on the pins d³ on the plate c³, the same string passes
over on top of compensating or bearing bar, and then on to the bridge of the
sounding board, the bar being between the two (bridge and bass plate). This bar
has a number of regulating screws d* tapped into and through the same, shown in
the Drawing. These screws keep the bar or bars in a certain position, and should
it be necessary to alter that position it can be effected by turning the screws which
are screwed through the bar, and by passing through the bar lowers or rises the
same according to the way the screw is turned, and gives more down bearing or
takes the same off as desired.
These regulating tension screws are square headed so that a tuning hammer or
such like tool can turn them. At the bottom of these screws is what is called a
neck or plain part g³. This plain part g³ works in and into bass plate bearings or
blocks c³, and there takes a bearing to receive the compensating downbearing or
pressure on the bridges on sounding board, the pressure on the sounding board
depending upon the angle given to the wire f³ by the pressure bar 6³. This bar
can be in two or more pieces, so that it can regulate the down bearing at the
break or the end of the long bridge, and the beginning or end of the extreme bass
bridge.
I shall now briefly describe the sweep side or "belt." In this case the tension or

page_text: downbearing bar or bars b³ work or stand in a groove ³, as shown in Figure 38
which represents an enlarged view of a section through the belt. A screw by in
Figure 38 receives the down pressure of each screw 63 as clearly shown.
i..
The bar or bars 63 are in front of the hitch pins d³, and behind the long bridge es
with the strings or wires passing over tension bars 63, the same as in Figure 36.
In this class of pianofortes, such as obliques, overstrung, grands, grand squares,
or ordinary upright pianos with metal frames I use my dovetailed groove bridge,
as shown in Drawing, of an overstrung piano as seen in Figure 4. I do not always,
use a groove for the bar bs as shown in Figure 38, as the same effect can be produced
by means of the screws d, the points of which are let into the metal frame p, as
shown in Figures 39, 40, and 41, which show the arrangement I adopt in over-
strung pianos with metal frames; with these screws I regulate the string pressure
or downbearing on the sounding board together with the "breaks" or ends of
bridges.
In Figures 39, 40, and 41, the bar or bars 63 are supported upon the screws ds in
a similar manner to that shown in Figure 36.
# +
I can also regulate the downbearing by means of wedges d³, as in Figure 36ª,
shown also in dotted lines in Figure 39, and a slot in the bar or bars 6³, but
I prefer the screws. The regulating pins d' would be made without the screw head
and act as steadying pins when wedges are used. I can also produce the same
effect by means of a hitch pin ds with a screw thread cut on it, as shown in
Figure 42; this pin is tapped into the plate p and works up and down by turning
it round, either giving more down bearing or taking the down bearing off. These
pins have a small groove is near the squared or top part to receive the loop of the
wire in which the head of the pin can turn, as will be seen on reference to
Figure 42 Figure 43 is a separate view of the pin d³.
T-
Sheet 11 shows several methods I adopt to regulate the down bearing in old
instruments which have sunk in the sounding board, though the same methods may
be adopted in new instruments if desired. As shown in Figure 44 I place a down
pressure bar or bars b³ on the strings similar to those bars commonly used on the
wrest plank. This bar or bars is between the belly bridge e³, and sweep side, and
bass bridge, and bass plate. These bars bs are connected with the sounding board
by means of inetal bolts with flat heads and a thumb screw or nut l³ on the end.
When these nuts are tightened it causes the sounding board to rise, and the strings
to be forced down, producing a down bearing, and re-establishes the bearing and
restores and regulates the tone that has been lost through time or other causes.
Figure 44 is a section showing this arrangement at the belt side of a piano,
and Figure 45 shows the same arrangement on the plate side. I can also restore
the down bearing in the manner shown in Figures 46, 47, and 48. In Figure 46
I pass screws through down pressure bars 63, these screws passing through
sounding board and into bracings or frame work, or into blocks that it might be
necessary to put to receive the long screws k³. Another plan shown in Figures 47
and 48 consists in attaching securely brackets m³ on the belt n³. These brackets
have screws d tapped into them, and their points pass through these brackets and
bear on the down pressure bar or bars 6s, as will be well understood by referring to
Figures 47 and 48, which show a section and plan respectively of this arrangement;
the bars bs are coated with cloth or other similar material. To enable the screws kes
to be got at for the purpose of tightening or regulating them on the sweep side,
I make my key bottom or key bed removable, which also renders the same
portable; the key bed is removable in the cheeks at the part near the joint of the
ends. This also has the advantage of enabling upright pianos to be got up narrow
staircases and through narrow passages, as by removing the key bottom and cheeks
it enables the body or back part of piano to be turned to suit the round of stair-
way or passage as the case may be; it also saves a great amount of room in
packing upright pianofortes for shipment, the cheeks being taken out and placed
on the top of the piano saving cubic-measurements; I secure and fix in the cheek p³,

page_text: as shown in Figure 49, an angle metal plate g³, shown separately in Figure 50, or
the same can be made of any other material. In this angle plate that is fixed on
the cheeks is a wedge dovetail groove; this groove 3 receives a wedge dovetail
tongue 8³ commonly known as a dovetail pin; this tongue is on an angle plate t³,
893
shown in Figure 51, fixed on the ends of the pianos, and fits in the groove in
cheek 23 making them fast together when placed in position, as shown in section
Figure 49. Through these angle plates is passed a set screw u³ which prevents the
check lifting out of its position. The check can also be removed by arranging
wedge dovetail, so as to slide towards the sounding board in the inside or outside
of the ends or cheeks, so as to pull the key bottom froin the case instead of lifting
it; or by turning the dovetails the other way up I should then pull the key bed
down to get it from the ends, first taking out the set screw us; this last arrange-
ment suiting that class of pianofortes known as swan-necked.
And having now described the nature of my said Invention and in what manner
the same is to be performed, I declare that I claim,―
The improvements in pianofortes hereinbefore respectively described and sub-
stantially as shewn in the annexed Drawings.
In witness whereof, I, the said Jolin Brinsmead, have hereunto set my hand
and seal, this Sixteenth day of September, One thousand eight hundred and
seventy nine.