the rise and progress of instrumental music, nor succeeded in discerning the vast moral benefits which the devisers or improvers of all those "engines of melody" (whatever their character or name), have periodically conferred upon civilized peoples. That the pianoforte is the most popular of modern instruments, it is apprehended all will concede; and this being the case, in pursuance of our plan, "to enlighten the general community as to the lives of the world's truest workers," we, in our first number, include the name of one who has achieved a European reputation, and who may be looked upon as the representative, or typical, " musical engineer" of the present.

John Brinsmead, the senior, and founder of the gigantic firm of John Brinsmead and Sons, is descended from an ancient West of England family, who were landed proprietors, originally settled in Somersetshire and picturesque Devon. He was born at the zenith of England's disquiet with regard to the great Napoleon, the battle of Waterloo being fought when he was just one year old. Indeed, the parents of the subject of our sketch would scarcely have imagined that in little more than half a century from that date their child would have been created a Chevalier of the Legion of Honour by the French Government, for his artistic skill. At a little village on the river Torridge, in North Devon (Wear Gifford), young Brinsmead passed the first few years of his life, receiving his earlier education at this, his birthplace. He always exhibited a strong taste for music, but eventually was apprenticed to a cabinet maker, where he thoroughly mastered his business. On the cancelling of his indentures, he came to the metropolis, and, being, doubtless, led to his ultimate choice through his earlier musical intuitions, he determined to follow the business of a pianoforte manufacturer. As would be supposed, if such a system as "purchase" had existed in this musical craft, i.e., if it had been possible for young Brinsmead to have at once been raised to the position of a "master-man" without practically learning the details of his work, he would have declined such a per saltum dignity. He consequently resolved to commence at the bottom rung of the ladder of success, and, as a journeyman, Mr. Brinsmead worked at every branch. In the year 1836-forty five years ago-the subject of this sketch started business for himself, and almost from the hour of the inception of his industry he commenced that series of im

provements in his art which has now raised his fame to its present pitch. It does not concern us here to go either into the technical or historical data of the pianoforte, although were it within the scope of our purpose we should find it comparatively easy, being fortified in our task by a most learned and eloquent work from the pen of Mr. Edgar Brinsmead, son of the head of this leading firm (See “History of the Pianoforte, with an Account of the Theory of Sound and also of the Music and Musical Instruments of the Ancients" London, Novello, Ewer & Co., Berner's Street). In this book, Mr. Edgar Brinsmead conclusively demonstrates the vast improvements (practically amounting to new inventions), which have been made upon this handsome domestic instrument of music, not inaptly designated the drawing-room-orchestra." From the birth of the clavicytherium in the Thirteenth Century to the advent of the latest of Mr. Brinsmead's pianofortes, the ingenuity of man seems to have gradually developed, each century and generation leaving a mark of its own, until the climax has been reached by the inventions of Mr. Brinsmead. When we state that the annual exodus of pianofortes from the giant factory of this firm in the North West of London is more than 3,000, each instrument varying in price from 37 to 300 guineas, some idea may be gained, not only of the magnitude of their business, but of the appreciation of the public with regard to the pianofortes themselves.

The first strictly public mark of distinction received by Mr. Brinsmead was at the Great Exhibition of 1862, two decades ago, when the First Class Prize (or medal) was awarded. This honour was followed, in order, by medals from Paris (1867); Amsterdam (1869); Paris (1870); Philadelphia (1876); South Africa (South African International Exhibition, 1877); and Paris (1878). In the latter year, as we have seen, Mr. Brinsmead was also made a Chevalier of the Legion of Honour, a distinction never before attained by an English pianoforte manufacturer. The latest triumphs gained by the firm, of which the subject of our sketch is the senior member, are the two first prizes for upright and grand pianos at the Melbourne International Exhibition; the first prize at the recent Queensland Exhibition; and the two first prizes with the special diploma above all competitors at the late Sydney Exhibition.

To gain such unique distinction, it should be remembered that some equally distinguished service to art (in one or

Its

more of its ramifications) is a condition precedent; and we may shortly give the heads of work (without going into technicalities) which Mr. Brinsmead has accomplished and which has covered him with the medals of all nations. Although pianoforte construction had materially advanced in the year that Mr. Brinsmead laid the foundation of his business from the condition in which it found itself at the period when, e.g., the "harpsichord" of Herr Burckhardt Tschudi was so favourite an instrument, yet he could see the vast field for improvements which remained beyond. Passing from his sostenente patent (1862) which secured a fuller and richer tone in the pianoforte, we come down to 1868, when we find a record in the Patent Office of the "Perfect Check Repeater Action," and which Industry states "is probably the most important improvement which has been introduced into pianofortes during the century," and which, moreover, has removed the last objection which hyper-musical taste urged against the instrument. object is to remedy two serious defects of construction, which, however perfect an instrument might be in other respects, will always militate against the instrumentalist. It has been said by specialists that these flaws in construction, especially in rapid and impassioned music, mar the efforts of the finest executant. In the first place, when the hammer has struck the string, the elasticity of the substances in contact causes a recoil and a repetition of the blow, not indeed of the same intensity, but an impact of sufficient force to originate a new series of sound waves which interfere with the first, and necessarily destroy the purity of the note. Another object to be provided for is to obtain a quick repetition of the blow when it is desired. In the ordinary construction this is rendered difficult, from the fact of the key, when it has been first depressed, having to return to its normal position to receive a fresh impulse from the finger of the player. It has thus to re-ascend through a space of about 8ths of an inch, the time occupied by this motion being greater than is consistent with the requirements of rapid execution.

"Checks" for these purposes had been devised by previous inventors, but in none was the dual purpose achieved of securing an instant repetition of the stroke whilst holding the hammer in firm and perfect check when required. Mr. Brinsmead's "Perfect Check Repeater" effects the double object, however, with great simplicity, and at a cost which

only amounts to a slight increase on the price of an instrument of more primitive construction. But when thus improved the pianoforte is capable of effects that could not be imagined prior to actual trial. Every note now tells with charming effect; the piano and the forte passages are executed with far greater ease and certainty; there is a perfect immunity from the "blocking" of the hammer or its remaining in contact with the string and stopping the tone after the stroke, an effect which frequently arises from damp or neglect; and, in a word, there is at once such an elasticity and firmness of touch as must give to the performer the happy consciousness that between himself and the instrument there exists the most perfect and absolute sympathy.

The arrangement, we would remark before leaving this part of the subject, is not at all complicated. But the simplest mechanical inventions are frequently the most useful. Amongst the other improvements to be credited to this historical firm, but which it does not enter into the scheme of a personal memoir to detailise, we may mention "The Upright Iron Grand Construction" improvement, the "Tone Sustaining Pedal," and others. Amongst the celebrities of the musical world, who have spontaneously expressed their appreciation of the pianofortes of Messrs. Brinsmead, may be mentioned M. Gounod, Rubinstein, Kuhe, Dr. Stainer (organist of St. Paul's), and E. J. Hopkins (organist and director of the choir, Temple Church), &c., &c. The instruments of this firm have also entirely superseded those of other houses in several of the largest fleets-notably, the Peninsular and Oriental Steam Navigation Company. It has been truly said by Industry "no better test could be found [than this], as, in addition to the trying strain caused by changes of temperature, pianos are often very roughly handled when brought on deck for the recreation of passengers."

In many cases a life so busy with strictly professional work, and so replete with consequent honours, would scarcely find opportunity to devote any portion of its labours to matters outside the immediate circle of daily duty. But like M. Menier, the philanthropic Frenchman, who has just died at Noisiel-sur-Marne, Mr. Brinsmead has always taken a keen interest in public questions. In politics he has ever indentified himself with the Liberal party, although had he sought a seat in Parliament, his votes would have been independent.

His own success, however, has made him anxious as to the social well-being of his own numerous employés, who are at one in their estimate of their genial and generous master. Blessed (beyond most men who have genius) with four sons who inherit both the enthusiasm and the talent of their father, Mr. Brinsmead need have no fear of his vast industry being carried on by strangers in blood after his demise, for in regard to this firm we have the somewhat unusual, but pleasing, spectacle of a whole family devoting all their talents and energies to the loved profession which they have chosen. In Church matters Mr. Brinsmead would be termed a Liberal Evangelical.

In writing a concluding word, we may suggest to our readers the careful and studious perusal of the elaborate work by Mr. Edgar Brinsmead (previously referred to) on the "History of the Pianoforte." If they should, perchance, be in possession of one of the firm's instruments, it would be instructive to note what the piano once was (in its rudest state), and then to contrast it with an instrument upon which science and the inventions of a progressive civilisation have dispensed their most kindly and sympathetic gifts and graces.

THE EARL OF ABERDEEN.

THE RIGHT HON. JOHN CAMPBELL HAMILTON GORDON, Seventh Earl of Aberdeen, Viscount Formartine, Baron Haddo, Methlic, Tarves, and Kellie (Scotland, 1862); Viscount Gordon (United Kingdom, 1814), and a Baronet, (Scotland, 1642), is the second son of George John James, Fifth Earl, and Lady Mary Baillie, Countess of Aberdeen, second daughter of the late George Baillie, Esq., of Jerviswood, and sister of the Tenth Earl of Haddington. His lordship was born on August 3rd, 1847, and was first educated at Cheam School, Surrey. He afterwards studied for several years at the College Hall, St. Andrews, in connection with the University of that City (the oldest and certainly not the least interesting of the Scottish seats of