Chapter I: Front Matter (1)
TIME IN SEARCH OF CUPID.]
TABLE OF CONTENTS.
VOL. XLVIII.
A Bit of Shopping Gossip, 282
A Bloomer among us, by _Pauline Forsyth_, 396
A Chapter on Necklaces, by _Mrs. White_, 213
A Consideration, 569
Advice to a Bride, 405
A Few Words about Delicate Women, 446
A Gossip on the Fashions, 56
A Great Duty which is Imposed upon Mothers, 464
A Great Mulrooney Story, by _Sylvanus Urban, the Younger_, 27
A Lace Basque, 550
A Lesson worth Remembering, 478
A Loving Heart, by _W. S. Gaffney_, 543
Amateur Gardening, 89
A Mother's Love, by _Mary Neal_, 355
Amor, Vivax, Fragilis, by _H. H., M. D._, 32
An Antidote, 188
Anecdote of Byron, 130
An Incident, by _J. M. C._, 64
Annoyance, by _Beata_, 452
An Ornamental Cottage, 268, 269
A Pleasant Letter, 152
A Portrait, by _Paul H. Hayne_, 64
Appletons', 380
Apron in Broderie en Lacet, 363
A Ruling Passion, 272
A Sketch, by "_Leonora_," 63
A Song, by _Charles Stewart_, 501
A Story of Valentine's Day, by _Mrs. Abdy_, 137
A Strange Incident, 514
Aunt Tabitha's Fireside, by _Edith Woodley_, 150
A Valentine, by _Clara Moreton_, 165
A Warning to Lovers, 187
Babylon, Nineveh, and Mr. Layard, 51, 134, 228
Bearded Civilization, 227
Beauty, by _Miss M. H. Butt_, 346
Be of Good Cheer; it is I, by _R. T. Conrad_, 64
Blessington's Choice, by _Fitz Morner_, 424
Braided Slipper, 261
Braid for Child's Dress, 549
Braid Patterns, 172
Bread-Cloth, 553
Bright Flowers for her I Love, by _Wm. Roderick Lawrence_, 450
Boardman & Gray's Dolce Campana Attachment Piano-Fortes, 5, 101, 277
Bonnets, from Thomas White & Co., 193, 283
Border and Corner for Pocket-Handkerchief, 361
Broderie Anglaise for Flouncing, 173
Camilla Mantilla, 289
Caps, 69, 170, 360, 362, 546
Celestial Love Letters, 118
Celestial Phenomena, by _D. W. Belisle_, 60, 131, 233, 315,
403, 504
Centre-Table Gossip, 89, 187, 282, 379, 477, 569
Charity Envieth Not, by _Alice B. Neal_, 417
Chemisettes, 69, 264, 362
Chemistry for Youth, 81, 185, 279, 566
Child's Dress, 71
Children's Dresses, 1, 92
Chinese Sayings, 548
Costly China, 569
Cottage Furniture, 74, 263, 364, 454, 551
Crochet Tassel Cover, 358
Dairy-House and Piggery, 349
Deaconesses, 273
Decorated Parlor Windows, 97, 166
Design for Screen, 198, 267
Development of the Lungs, 107
Directions for a Letter-Band, 391, 458
Directions for Knitting a Work-Basket, 458
Directions for taking Leaf Impressions, 443
Directions to Ladies for Shopping, 83
Disappointed Love, by _W. S. Gaffney_, 449
Don't Overtask the Young Brain, 337
Dream Picture, by _Mrs. A. F. Law_, 353
Dress--as a Fine Art, by _Mrs. Merrifield_, 25, 347, 412
Dress Collar.--Embroidery, 553
Dress of American Women, 282
Dying, by _Bell_, 165
Editors' Table, 75, 175, 271, 366, 462, 555
Editors' Table-Drawer, 77, 273
Edna, by _Ellen Alice Moriarty_, 164
Ellie Maylie, by _Jennie Dowling De Witt_, 353
Embroidered Antimacassar, 269
Embroidered Collar, 174
Embroidered Screen, 171
Embroidery.--Dress Collar, 553
Embroidery for Petticoats, 68
Embroidery for Shirts, 74, 169
Embroidery with Cord, 458
Enigmas, 87, 185, 280, 377, 474, 567
Eugenie Costume, 292
Evangeline and Antoinette.--Mantillas, 385, 457
Evening Thoughts, by _H. Merran Parke_, 543
Every Lady her own Dressmaker, 570
Fairyland, by _Laura M. Colvin_, 260
Farm House, 444
Fashions, 90, 189, 283, 381, 479, 571
Female Accomplishments, 89
Female Medical Education, 462
Feminology, 273
For the Lovers of Jewelry, 478
Geraniums, _from Mrs. Hale's New Household Receipt-Book_, 565
Godey's Arm-Chair, 82, 181, 275, 371, 467, 561
Godey's Course of Lessons in Drawing, 36, 115, 216, 323, 410, 502
Headdress, 546
A Bit of Shopping Gossip, 282
History of Pearls, Natural and Artificial, 533
House Plants, _from Mrs. Hale's New Household Receipt-Book_, 472
Illuminated, or Vellum-Painting, 538
Influence of Female Education in Greece, 271
Ingenuity of Bees, 133
Instantaneous Flowering of Plants, 161
Instructions for making Ornaments in Rice Shell-Work, 22, 154, 240
Instructions in Knitting, 472
Intellectual Endowments of Children, 409
Interesting Discovery at Jerusalem, 395
I was Robbed of my Spirit's Love, by _Jaronette_, 354
Jacket for Riding-Dress, 364
Juvenile Books.--From Evans & Brittan, 188
Juvenile Fashions, 547
Laces and Embroideries, 379
Lace Mantilla and Tablet Mantilla, 388, 457
Lady's Riding-Boots, 551
Lady's Scarf Mantelet, 357
Lady's Slipper, 363, 552
Lady's Walking-Dress and Diagrams, 262
L'Anglaise Costume, 293
Lay of the Constant One, by _Mrs. Corolla H. Criswell_, 258
Legend of Long-Pond; or, Lake of the Golden Cross,
by _Fanny Fales_, 506
Let me Die! by _S. M. Montgomery_, 544
Le Printemps Mantilla, 289
Letters Left at the Pastry Cook's, _Edited by
Horace Mayhew_, 58, 128, 247, 334, 414, 499
Lines to a Bronchitis Birdie, by _N. W. Bridge_, 545
L'Isolement, _Translated from the French of Alphonse
de Lamartine, by Wm. A. Kenyon_, 545
Literary Notices, 78, 177, 274, 369, 465, 558
Literature for Ladies, 175
Little Children, 207
Love's Elysium, by _J. A. Bartley_, 55
Madame Caplin's Corsets, 265
Management of Canary Birds, 322
Mantillas, from the celebrated Establishment of G. Brodie,
New York, 4, 72, 100, 167, 168, 196, 197, 267, 290,
291, 392, 458, 482, 483
Manuel Garcia, the celebrated Singing-Master, 366
Manufacture of Pins, 404
Marquise and Navailles.--Mantillas, 389, 457
May-Day, 423
May First, 477
Mrs. Clark's Experience as a Servant, by _Bell_, 508
Mrs. Mudlaw's Recipe for Potato Pudding, by
_The Author of the_ "_Bedott Papers_," 250
Mrs. Murden's Two Dollar Silk, by _The Author of_
"_Miss Bremer's Visit to Cooper's Landing_," 317
"Mustard to Mix."--A Receipt for Young Housekeepers, by
_The Author of_ "_Miss Bremer's Visit to Cooper's Landing_,"
_etc._, 158
My Grandmother's Stand, by _H. B. Wildman_, 65
"My Experience in Babies, Sir!" by _Mary Neal_, 63
My Tulips, by _H. S. D._, 544
Netted Cap, for morning wear, 360
New Revelations of an Old Country, 427
Niagara, 521
Novelties for the Coming Season, 170
Ode from Horace, by _Edw. Newton Van Sant_, 66
Ode to the Air in May, by _Nicholas Nettleby_, 452
O'er Bleak Acadia's Plains, by _Clark Gaddis_, 261
Oh, Lay Her to Rest, by _Florus B. Plimpton_, 40
Old, while Young, by _Mabel Clifford_, 259
On the Porch of the Cataract House, by _Helen Hamilton_, 62
Ornaments, 570
Our Fashion Department, 478
Our Practical Dress Instructor, 168, 262, 357, 453
Painting on Velvet, 393
Parlor Work, 89, 188
Patterns for Embroidery, 172, 270, 365, 456, 554
Petticoat Trimming.--In Broderie Anglaise, 173
Physical Training, 525
Pictures from Dante, 273
Plain Work, 460
Preparations for Company, 26
Presentiment, by _Mrs. Priscilla P. Lompayrac_, 260
Preservation of Food, 487
Public Liberality, 272
Reading without Improvement, 272
Receipts, &c., 87, 186, 280, 378, 475, 567
Remembered Happiness, 433
Remember the Poor, by _Mrs. C. H. Esling_, 165
Roman Women in the Days of the Cæsars, by _H. P. Haynes_, 243
Secret Love, by _Kate Harrington_, 542
Selling the Love-Token, by _Alice B. Neal_, 208
Silent Thought, by _Willie Edgar Tabor_, 440
Singular Inscriptions on Tombstones, 376
Slander, 557
Sleeves, 69, 264
Smyrna Embroidery.--Lady's Slipper on Cloth, 552
Some Thoughts on Training Female Teachers, by _Miss M. S. G._, 336
Song to C. G. D., by _William P. Mulchinock_, 66
Sonnets, by _Wm. Alexander_, 66, 163, 260, 352, 450, 543
Spring, 464
Spring Bonnets, 294, 459
Spring Fashions, 390, 457
Stanzas, by _H. B. Wildman_, 450
Stanzas, by _Helen Hamilton_, 450
Table-Moving, by _Pauline Forsyth_, 235
Taper-Stand, 266
Teaching at Home.--Language, 442
The Borrower's Department, 87, 184, 377, 475, 566
The Children-Angels, by _James A. Bartley_, 162
The Dead Tree, 544
The Dying Wife, by _Phila Earle_, 257
The Economics of Clothing and Dress, 421
The Elixir of Life, by _Charles Albert Janvier_, 354
The Embroidered Slippers.--An acknowledgment of a Holiday Gift, 259
The Evening Walk, by _Richard Coe_, 162
The Fountain Very Far Down, by _Virginia F. Townsend_, 145
The Gleaner, by _Richard Coe_, 449
The Good Time Coming, 75
The Hortense Mantelet and Victoria, 70
The Household, 379
The Interview, by _T. Hempstead_, 352
The Last Kiss, by _Jenny A. M'Ewan_, 541
The Last Moments, by _R. Griffin Staples_, 356
The Life of Man, by _C****_, 261
The Lloyds, by _Mrs. S. J. Hale_, 41
The Manufacture of Artificial Flowers, by _C. T. Hinckley_, 295
The Manufacture of Paper, by _C. T. Hinckley_, 199
The Miser, by _Charles Leland Porter_, 163
The Mother's Lesson, by _Elma South_, 441
The Needle in the Haymow.--A Story for Housekeepers,
by _H. D. R._, 515
The New Sewing-Machine, 127
The Nursery Basket, 570
The Orphan Boy, by _Robert G. Allison_, 163
The Orphan's Departure, by _Margaret Floyd_, 310
The Pedestrian Tour, by _Pauline Forsyth_, 494
The Pet, by _Rosa Montrose_, 449
The Philadelphia School of Design for Women, 271
The Philosophy of Shopping, by _Mrs. Alaric Watts_, 33
The Pleiades, 21
The Practical, 463
There's Music, by _Horace G. Boughman_, 353
The School-Mistress Married, 77
The Schottisch Partner, by _Motte Hall_, 542
The Scotch Piper, 184
The Song-Birds of Spring, by _Norman W. Bridge_, 355
The Spring-time Cometh, 463
The Stolen Match, by _Hon. Caleb Cushing_, 13
The Souvenir; or, The Arrival of the Lady's Book. A Sketch of
Southern Life, by _Pauline Forsyth_, 338
The Toilet, 92, 187, 281, 382, 477, 568
The Trials of a Needle-Woman, by _T. S. Arthur_, 119, 218, 326,
434, 527
The Turkish Costume, 348
The Vork-'Ouse Boy, 83
The _Was_ and the _Is_, by _O. Everts, M. D._, 356
The Wild Flowers of Early Spring-time, 343
The Wild Flowers of the Month, by _H. Coultas_, 523
The Wives Of England, 76
The Wreck, by _Mrs. E. Lock_, 259
They say that she is Beautiful, by _Mary Grace Halping_, 451
Time's Changes; or, Fashions in the Olden Times, 512
'Tis Gold! 'Tis Gold! by _James L. Roche_, 258
'Tis O'er, by _I. J. Stine_, 452
To a Friend on the Day of his Marriage, 545
To an Absent Dear One, by _Fannie M. C._, 355
To Caroline in Heaven, by _Annie B. Clare_, 65
To Ida, by _Horace Phelps, M. D._, 356
Toilet Cover in Crochet, 73
To Laura.--The Friend, by _Beata_, 65
To Miss Laura, 416
To Morning, by _Blanche Bennairde_, 57
To my Brother, by _Mrs. M. A. Bigelow_, 258
To one who Rests, by _Winnie Woodfern_, 451
To our Friend Godey, by _Mrs. A. J. Williams_, 468
To the Gánd'hraj, by _Mrs. E. Lock_, 165
To the New Year, 62
Transplanting Roses, 188
Treasures, 420
True Happiness in a Palace, 367
Truth, by _D. Hardy, Jr._, 550
Truth Stranger than Fiction, 406
Two Mothers? by _Mrs. S. F. Jennings_, 543
Undersleeves, 362, 456
Valentine's Day, 156
Vegetable Physiology, by _Harland Coultas_, 148, 232, 523
Veteran Sailor's Song, by "_Caryl_," 164
Virginia Percy.--A Sketch of Southern Life,
by _Pauline Forsyth_, 108
Washing made Easy, 379
Watch-Pocket.--Broderie en Lacet, 269
We Parted, by _M. A. Rice_, 257
Willie Maylie, by _Cornelia M. Dowling_, 353
What shall be done for the Insane? 555
Why don't Ladies learn to Cook? 549
Woman the Physician of her own Sex, 176
Working and Dreaming, by _Mrs. A. L. Lawrie_, 162
Work-Table for Juveniles, 67, 455
Yankee Doodle with Variations, 473
Zanotti: a Romantic Tale of Italy and Spain, by _Percy_, 300
EMBELLISHMENTS, &c.
_January._
The Pleiades.
Time in Search of Cupid.
The Hortense Mantelet and the Victoria.
Embroidery.
Godey's Latest Fashions.
Children's Dresses.
MUSIC.--The Bluebird Waltz, by _Edward Mack_.
The Hungarian Circle.
Boardman & Gray's Dolce Campana Attachment Piano-Fortes.
Instructions for making Ornaments in Rice Shell-Work.
Godey's Course of Lessons in Drawing.
Fallen Rock-Sculptures at Bavian.
A Gossip on the Fashions.
Work-table for Juveniles.
Embroidery for Petticoats.
Chemisettes, Sleeves, and Caps.
Child's Dress.
Toilet Cover in Crochet.
Embroidery for Shirts.
Cottage Furniture.
Directions to Ladies for Shopping.
Designs for Headdresses.
_February._
The Evening Walk.
Godey's Colored Fashions.
Embroidered Dressing-Gown.
Broderie Anglaise Flouncing.
The Farm Yard.
Window Curtains.
MUSIC.--Andante and Waltz, by _Thos. A'Becket_.
The Moscow Wrapper.
Boardman & Gray's Dolce Campana Attachment Piano-Fortes.
Godey's Course of Lessons in Drawing.
The New Sewing-Machine.
Babylon and Nineveh.
Vegetable Physiology.
Instructions for making Ornaments in Rice Shell-Work.
The Salamanca.
Polka Jacket and Diagrams.
Embroidery for Shirts.
The Pelisse, a favorite style of outside garment.
Caps.
Embroidered Screen.
Patterns for Embroidery.
Braid Pattern.
Petticoat Trimming.--In Broderie Anglaise.
Embroidered Collar.
The Scotch Piper.
_March._
Selling the Wedding-Ring or Love-Token.
Godey's Unrivalled Colored Fashions.
Embroidered Antimacassar.
Watch-Pocket.--Broderie en Lacet.
Embroidery Pattern.
Model Cottage, printed in tints; and ground-plan.
Fashionable Bonnets.
MUSIC.--Pop Goes the Weasel.
The Arragonese and the Valencia.
Design for Embroidered Screen.
The Manufacture of Paper.
Godey's Course of Lessons in Drawing.
Babylon and Nineveh.
Vegetable Physiology.
Instructions for making Ornaments in Rice Shell-Work.
Braided Slipper.
Lady's Walking-Dress and Diagrams.
Cottage Furniture.
Chemisettes and Sleeves.
Madame Caplin's Corsets.
Taper Stand.
Patterns for Embroidery.
Bird's-eye View of Boardman & Gray's Piano-Forte Manufactory,
Albany, N. Y.
Little Girl's Sack and Outdoor Dresses.
Oakford's Spring Fashions for Hats, Caps, &c.
_April._
Departure of the Orphan.
The Arrival of the Lady's Book.
Apron in Broderie en Lacet.
Latest Fashions.--Spring Dresses.
Camilla Mantilla and Le Printemps Mantilla.
The Columbine and the Snowdrop.--Mantillas.
Eugenie Costume and L'Anglaise.
Spring Bonnet.
The Manufacture of Artificial Flowers.
Godey's Course of Lessons in Drawing.
Model Cheese Dairy-House, and Model Piggery.
Lady's Scarf Mantelet and Diagrams, and Diagrams for Lady's Jacket.
Crochet Tassel Cover.
Netted Cap, for morning wear.
Border and Corner for Pocket-Handkerchief.
Chemisettes, Undersleeves, and Caps.
Lady's Slipper.
Jacket for a Riding-Dress.
Cottage Furniture.
Patterns for Embroidery.
The Husband of your Cook leaving your House.
_May._
The Gleaner.
Godey's Colored Spring Fashions.
Embroidered Dress Undersleeve.
Preparing for Church.
MUSIC.--Let us be Friends. Words by _David Bates, Esq._ Music by
_P. K._
MANTILLAS.--Evangeline and Antoinette; Lace Mantilla and Tablet
Mantilla; Marquise and Navailles Shawl-Mantelet; The Albuera.
Spring Fashions.
Design for a Letter-Band.
Painting on Velvet.
Godey's Course of Lessons in Drawing.
New Revelations of an Old Country.
Farm House.
Ladies' Dresses and Diagrams.
Cottage Furniture.
Back of a Watch-Pocket.
Dice Pattern for Slippers.
Patterns for Embroidery.
Embroidery with Cord.
Spring Bonnets.
Night Dresses.
The Broken Bust.
_June._
Eastport and Passamaquoddy Bay.
Colored Fashions.
Embroidered Dress Collar.
The Truant Detected.
Fashionable Bonnets and Caps.
The Pyramid Talma.
The Scarf Volant.
MUSIC.--The Palace Waltz.
The Empress and the Novada.
Preservation of Food.
Godey's Course of Lessons in Drawing.
The Wild Flowers of the Month.
Artificial Pearls in the Mussel.
Illuminated, or Vellum-Painting.
Caps and Headdress.
Juvenile Fashions.
Braid for Child's Dress.
Lace Basque.
Lady's Riding Boots.
Cottage Furniture.
Lady's Slipper on Cloth.--Smyrna Embroidery.
Design for a Bread-Cloth.
Patterns for Embroidery.
BY OUR "FASHION EDITOR."]
THE BLUE-BIRD WALTZ.
COMPOSED BY
EDWARD MACK.
_Entered according to Act of Congress in the year 1853, by T. C. ANDREWS, in the Clerk's Office of the District Court of the Eastern District of Pennsylvania_
[From the establishment of G. BRODIE, No. 51 Canal Street, New York.]]
GODEY'S
LADY'S BOOK.
PHILADELPHIA, JANUARY, 1854.
EVERYDAY ACTUALITIES.--NO. XV.
ILLUSTRATED WITH PEN AND GRAVER.
BOARDMAN & GRAY'S DOLCE CAMPANA ATTACHMENT PIANO-FORTES.
Perhaps we cannot present our readers a more interesting article on manufacturing, than to give an idea of piano-forte making. Piano-fortes, in these days, making an almost indispensable article of furniture in every dwelling; adding so much to the pleasures of home, and being so much of a companion in all home hours; contributing so largely to the enjoyments of society, that some little knowledge of the processes of making, and the materials used, must be not only interesting to all, but valuable to those who may wish to know how good piano-fortes should be made.
With this desire, we have selected as our MODEL the large and flourishing manufactory of Messrs. Boardman & Gray, the eminent piano-forte makers of Albany, N. Y., celebrated as the manufacturers of the Dolce Campana Attachment Piano-Fortes, whose instruments were not only sought after and used by Jenny Lind, Catharine Hayes, and other celebrities, but by the profession generally throughout the United States.
Messrs. Boardman & Gray's manufactory is situated at Albany, N. Y., occupying the end of a block, presenting a front on three streets of upwards of 320 feet, the main building of which, fronting on two streets 208 feet, is built of brick, four stories high above a high basement-story, devoted exclusively to machinery driven by a forty horse power engine. The completeness of design of these buildings and machinery for the purpose used, we believe, has no superior, if any equal, in this country. Every improvement and convenience is attached to make the entire perfect, and in going through the premises one is attracted by the comprehensiveness of the whole concern.
The entrance to the factory of Messrs. Boardman & Gray is by a large gateway through the centre of the building, next to the office, so that the person in charge of the office has full view of all that enter or leave the premises. We pass into the yard, and are surprised at the large amount of lumber of all kinds piled up in the rough state. The yard is full, and also the large two story brick building used as drying sheds for lumber. Here a large circular saw is in full operation, cutting up the wood ready for the sheds or machine-room. Messrs. Boardman & Gray have the most of their lumber sawed out from the logs expressly for them in the forests of Alleghany, Oneida, Herkimer, and other choice localities in N. Y., and also Canada, and delivered by contract two and three years after being sawed, when well seasoned. The variety and number of different kinds of wood used in the business is quite surprising. Pine, spruce, maple, oak, chestnut, ash, bass-wood, walnut, mahogany, cherry, birch, rosewood, ebony, whiteholly, apple, pear-tree, and several other varieties, each of which has its peculiar qualities, and its place in the piano depends on the duties it has to perform. The inspecting and selecting of the lumber require the strictest attention, long experience, and matured judgment; for it must be not only of the right kind, and free from all imperfections, such as knots, shakes, sapwood, &c., but it must also be well seasoned. All the lumber used by Messrs. Boardman & Gray, being cut two or three years in advance, is seasoned before they receive it; then it is piled up and dried another year, at least, in their yard, after which it is cut up by the cross-cut circular saw, and piled another season in their sheds, when it is taken down for use, and goes into the machine-shop; and here it is cut into the proper forms and sizes wanted, and then put into the drying-rooms for six months or a year more before it is used in the piano-forte.
These drying-rooms, of which there are three in the establishment, are kept at a temperature of about 100° Fahrenheit, by means of steam from the boiler through pipes. As fast as one year's lot of lumber is taken down for use, another lot is put in its place ready for the next year. In this way, Messrs. Boardman & Gray have a surety that none but the most perfectly seasoned and dry lumber is used in their piano-fortes. Their constant supply of lumber on hand at all times is from two to three hundred thousand feet, and as Albany is the greatest lumber mart in the world, of course they have the opportunity of selecting the choicest lots for their own use, and keeping their supply good at all times.
The selection of the proper kinds of lumber, and its careful preparation, so as to be in the most perfect order, constitute one of the most important points in making piano-fortes that will remain in tune well, and stand any climate.
Here is the motive power, and a beautiful Gothic pattern horizontal engine of _forty horse power_, built at the machine works of the Messrs. Townsend of Albany, from the plans, and under the superintendence of Wm. McCammon, Esq., engineer now in charge of the Chicago (Ill.) Water-works. The engine is, indeed, a beautiful working model, moving with its strong arm the entire machinery used throughout the building, yet so quiet that, without seeing it, you would hardly know it was in motion. In the same room is the boiler, of the locomotive tubular pattern, large enough not only to furnish steam for the engine, but also for heating the entire factory, and furnishing heat for all things requisite in the building. Water for supplying the boiler is contained in a large cistern under the centre of the yard, holding some 26,000 gallons, supplied from the roofs of the buildings. The engine and boiler are in the basement (occupying the basement and first story in one room), at one end of the building, and are so arranged that all the machinery used in the different stories is driven throughout by long lines of shafting put up in the most finished manner, while the entire manufactory is warmed in the most thorough and healthy manner by steam from the boiler, passing through some 8,000 feet of iron pipe, arranged so that each room can be tempered as required. At the same time, ovens heated with steam through pipes are placed in the different rooms to warm the materials for gluing and veneering. The glue is all "made off" and kept hot in the different rooms by means of iron boxes with water in them (in which the glue-pots are placed), kept at the boiling point by steam passing through pipes in the water: thus the boiler furnishes all the heat required in the business.
We pass to the next room, where we find the workmen employed in preparing the massive metallic (iron) plates used inside the pianos, from the rough state, as they come from the furnace. They are first filed smooth and perfect to the pattern, then painted and rubbed even and smooth, and are then ready for the drilling of the numerous holes for the pins and screws that have to be put into and through the plate in using it. (A view of the drilling-machines and workmen is given with the engine.)
Into each plate for a seven octave piano, there have to be drilled upwards of 450 holes, and about 250 of these have pins riveted into them for the strings, &c.; and these must be exactly in their places by a working pattern, for the least variation might make much trouble in putting on the strings and finishing the piano. Of course, these holes are drilled by machinery with that perfection and speed that can be done only with the most perfect machines and competent experienced workmen. And these metallic plates, when finished and secured in the instrument correctly, give a firmness and durability to the piano unattainable by any other method.
In the same room with the drilling-machines we find the leg-making machines, for cutting from the rough blocks of lumber the beautifully formed "ogee" and "curved legs," as well as sides, of various patterns, ready for being veneered with rosewood or mahogany. The body of the legs is generally made of chestnut, which is found best adapted to the purpose. The leg-machine is rather curious in its operations, the cutting-knives revolving in a sliding-frame, which follows the pattern, the leg, whilst being formed, remaining stationary.
Our first impression on entering the machine-shop is one of noise and confusion; but, on looking about, we find all is order, each workman attending his own machine and work. Here are two of "Daniel's Patented Planing-Machines," of the largest size, capable of planing boards or plank of any thickness three feet wide; two circular saws; one upright turning-saw, for sawing fancy scroll-work; a "half-lapping machine," for cutting the bottom framework together; turning lathes, and several other machines, all in full operation, making much more noise than music.
The lumber, after being cut to the length required by the large cross-cut saw in the yard, and piled in the sheds, is brought into this machine-room and sawed and planed to the different forms and shapes required for use, and is then ready for the drying-rooms.
In this machine-room, which is a very large one, the "bottoms" for the cases are made and finished, ready for the case-maker to build his case upon. If we examine them, we will find they are constructed so as to be of great strength and durability; and, being composed of such perfectly seasoned materials, the changes of different climates do not injure them, and they will endure any strain produced by the great tension of the strings of the piano in "tuning up to pitch," amounting to several tons.
But we must pass on to the next room. We step on a raised platform about four feet by eight, and, touching a short lever, find ourselves going up to the next floor. Perhaps a lot of lumber is on the platform with us, on its way to the drying-rooms. On getting on a level with the floor, we again touch the magic lever, and our steam elevator (or dumb waiter) stops, and, stepping off, find ourselves surrounded with workmen; and this is the "case-making" department. And here we find piano-forte cases in all stages of progress; the materials for some just gathered together, and others finished or finishing; some of the plainest styles, and others of the most elaborate carved work and ornamental designs. Nothing doing but making cases; two rooms adjoining, 115 feet long, with workmen all around as close together as they can work with convenience. Each room is furnished with its steam ovens, glue heaters, &c. The case-maker makes the rims of the case, and veneers them. He fits and secures these to the bottom. He also makes and veneers the tops. This completes his work, and then we have the skeleton of a piano, the mere shell or box. The rim is securely and firmly fastened to the strong bottoms, bracing and blocking being put in in the strongest and most permanent manner, the joints all fitting as close as if they grew together; and then the case is ready to receive the sounding-board and iron frame. The bottoms are made mostly of pine; the rims of the case are of ash or cherry, or of some hard wood that will hold the rosewood veneers with which they are covered. The tops are made of ash or cherry, sometimes of mahogany, and veneered with rosewood. We will now follow the case to the room where the workmen are employed in putting in the sounding-board and iron frames.
SOUNDING-BOARD AND IRON-FRAME ROOM.]
The sounding-board is what, in a great measure, gives tone, and the different qualities of tone, to the piano. Messrs. Boardman & Gray use the beautiful white, clear spruce lumber found in the interior counties of New York, which they consider in every way as good as the celebrated "Swiss Fir." It is sawed out in a peculiar manner, expressly for them, for this use, selected with the greatest possible care, and so thoroughly seasoned that there is no possibility of its warping or cracking after being placed in one of their finished instruments. The making of the sounding-board the requisite thinness (some parts require to be much thinner than others), its peculiar bracing, &c., are all matters that require great practical experience, together with numberless experiments, by which alone the perfection found in the piano-fortes of Messrs. Boardman & Gray, their full, rich tone giving the most positive evidence of superiority, can be attained.
We will watch the processes of the workmen in this department. One is at work putting in the "long-block" of hard maple, seasoned and prepared until it seems almost as hard as iron, which is requisite, as the "tuning-pins" pass through the plate into it, and are thus firmly held. Another workman is making a sounding-board, another fitting one in its place, &c. &c. All the blocking being in the case, the sounding-board is fitted and fastened in its place, so as to have the greatest possible vibrating power, &c.; and then the iron frame must be fitted over all and cemented and fastened down. The frame is finished, with its hundreds of holes and pins, in the drillers'-room, and the workman here has only to fit it to its place and secure it there; and then the skeleton case is ready to receive its strings and begins to look like what may make a piano-forte.
Spinning the bass strings, and stringing the case, come next in order. In the foreground of the last plate, we have a curious-looking machine, and a workman busy with it winding the bass strings, a curiosity to all who witness his operations. To get the requisite flexibility and vibration to strings of the size and weight wanted in the bass notes, tempered steel wire is used for the strings, and on this is wound soft annealed iron wire, plated with silver; each string being of a different size, of course various sizes of body and covering wire are used in their manufacture. The string to be covered is placed in the machine, which turns it very rapidly, while the workman holds the covering wire firmly and truly, and it is wound round and covers the centre wire. This work requires peculiar care and attention, and, like all the other different branches in Messrs. Boardman & Gray's factory, the workmen here attend to but one thing; they do nothing else but spin these bass strings, and string pianos year in and year out.
The case, while in this department, receives all its strings, which are of the finest tempered steel wire, finished and polished in the most beautiful manner. But a few years since, the making of steel music wire was a thing unknown in the United States; in fact, there were but two factories of note in the world which produced it; but now, as with other things, the Americans are ahead, and the "steel music wire" made by Messrs. Washburn & Co., of Worcester, Mass. is far superior in quality and finish to the foreign wire. The peculiar temper of the wire has a great influence on the piano's keeping in tune, strings breaking, &c., and, as the quality cannot always be ascertained but by actual experiment, much is condemned after trial, and the perfect only used.
The preparation of what is termed the "keyboard" is one of peculiar nicety, and the selection of the lumber and its preparation require great experience and minute attention, so that the keys will not spring or warp, and thus either not work or throw the hammers out of place, &c. The frame on which the keys rest is usually made of the best of old dry cherry, closely framed together to the form required for the keys and action. The wood of the keys is usually of soft straight-grained white pine, or prepared bass-wood. Both kinds have to go through many ordeals of seasoning, &c., ere they are admitted into one of the fine-working, finished instruments of Messrs. Boardman & Gray. The keys are made as follows: On a piece of lumber the keys are marked out, and the cross-banding and slipping done to secure the ivory; the ivory is applied and secured, and then the keys are sawed apart and the ivory polished and finished complete. The ebony black keys are then made and put on and polished, and the key-board is complete; the key-maker has finished his part of the piano. The ivory used is of the finest quality, and an article of great expense; its preparation from the elephant's tusks, of sawing, bleaching, &c., is mostly confined to a few large dealers in the United States. The most important concern of the kind is that of Messrs. Pratt, Brothers & Co., of Deep River, Conn., who supply most of the large piano-makers in the Union. As the ivory comes from them, it is only in its rough state, sawed out to the requisite sizes for use, after which it has to be seasoned or dried the same as lumber, and then prepared and fastened on the key; then to be planed up, finished, and polished, all of which requires a great amount of labor, much skill, and experience. Besides ivory, Messrs. Boardman & Gray use no small quantity of the beautiful variegated "mother-of-pearl," for keys in their highly ornamental, finished piano-fortes, a material itself very costly, and requiring a large amount of labor to finish and polish them with that peculiar richness for which their instruments are so celebrated. In this, as in the other departments, each workman has his own special kind of work; nothing else to attend to but key-making; his whole energies are devoted to perfect this part of the instrument.
In this department, we again see the perfection of machine-work. The action is one of the most important things in the piano-forte. On its construction and adjustment depends the whole working part of the instrument; for, however good the piano-forte scale may be, or how complete and perfect all the other parts are formed, if the action is not good, if the principle on which it is constructed is not correct, and the adjustment perfect, if the materials used are not of the right kind, of course the action will not be right, and it will either be dead under the fingers, without life and elasticity, without the power of quick repetition of the blow of the hammer, or soon wear loose, and make more noise and rattling than music. Thus will be seen the importance of not only having that action which is modelled on the best principle, but of having an instrument constructed in the most perfect and thorough manner. All parts of it should be so adjusted as to work together with as much precision as the wheels of a watch.
Messrs. Boardman & Gray use the principle which is termed the French Grand Action, with many improvements added by themselves. This they have found from long experience to be the best in many ways. It is more powerful than the "Boston, or Semi-Grand;" it will repeat with much greater rapidity and precision than any other; it is far more elastic under the manipulation of the fingers; and, to sum up all, it is almost universally preferred by professors and amateurs, and, what is still a very important point, they find, after a trial and use of it for many years, that it wears well. What is technically called the action consists of the parts that are fastened to the key, and work together to make the hammer strike the strings of the piano when the key is pressed down. The parts made of wood, consisting of some eight or ten pieces to each key, are what compose the action-maker's work; and, although they are each of them small, still on their perfection and finish depends much of the value of the instrument in which they are used. Various kinds of close-grained wood are used in their construction, such as white holly, apple or pear-tree, mahogany, hard maple, red cedar, &c., and other kinds as are best adapted to the use put to. They have to be closely fitted; the holes for the centre pins to work in must be clothed with cloth prepared expressly for this work. Buckskin of a particular finish, and cloth of various kinds and qualities, are used to cover those parts where there is much friction or liability to noise, and every part so perfectly finished and fitted that it will not only work smoothly, and without any sticking or clinging, but without noise, and yet be firm and true, so that every time the key is touched the hammer strikes the string in response. The action-maker completes these different parts of the action; and then another workman, who is called the "finisher," fits them to the keys and into the case of the piano; but, before we enter into his room, we will see to the preparation of another important part of the action, namely, the hammer. This is another extremely important thing in piano-forte making; the covering of the hammers is one of the most peculiar branches of the business. It is one that long experience and minute attention can alone perfect. The hammer head is generally made of bass-wood, and then covered with either felt prepared for this purpose, or deer or buckskin dressed expressly for this business. The preparation of buckskin for piano-forte makers is at this time quite an important trade, and the improvements made in its dressing of late years have kept full pace with the other improvements in the piano. The peculiar ordeal they undergo we cannot here explain; but we can only see the beautiful article finished for use. Some of them for the under coatings or layers are firm and yet elastic and soft, while those prepared for the top coating or capping are pliable and soft as silk velvet; and these, when correctly applied, will form a hammer which, if the piano-forte is perfect otherwise, will always give the rich, full organ tone for which the pianos of Messrs. Boardman & Gray are so celebrated. Those employed in covering and preparing hammers do this exclusively, and must perfect their work. They give the greatest number of coats, and the thickest buckskin to the hammers for the bass strings, and then taper up evenly and truly to the treble hammers, which have a less number of coats and of the thinnest kinds; and then, after the hammer is fitted to the string in the piano, and it has been tuned and the action adjusted, it goes into the hands of the hammer finisher, who tries each note, and takes off and puts on different buckskin until every note is good, and the tone of the piano is perfectly true.
We left the piano-case in the hands of the persons employed in putting on the beautifully polished steel strings, whose vibrations may yet thrill many a heart, or bring the starting tear. After it has its strings, it goes to the finisher, whose duties consist in taking the keys as they come from the key-maker, the action as prepared, and the hammers from the hammer-maker, and fitting them together and into the case, so that the keys and action work together; adjusting the hammer to strike the strings, and putting the dampers in their proper places to be acted on by the keys and pedals; making and fitting the harp, or soft stop; adjusting the loading of the keys to make a heavy or light touch, and thus doing what may be termed the putting the machinery together to form the working part of the piano-forte. And, when we consider that each key in one of Messrs. Boardman & Gray's piano-fortes is composed, with its action, of some sixty-five to seventy pieces, and that there are eighty-five keys to a seven octave instrument, making a sum total of nearly six thousand pieces, and that many of these pieces have to be handled over many times before they are finished in the piano, one is not a little surprised at the immense amount of work in a perfect piano-forte. But these six thousand pieces only compose the keys and action alone, and consist of wood, iron, cloth, felt, buckskin, and many other things; and, as a matter of course, each piece must be made and fitted with the greatest exactness, and the most perfect materials alone must be used. The "finishing," it will be seen at once, is another important branch, and requires long experience, close attention, and workmanship. Messrs. Boardman & Gray have many workmen employed in this department at finishing alone. The work is done by the piece, as many of the different branches are under the personal superintendence of the foreman, whose duty it is to see that the work is made perfect; for the workman is liable for the materials he destroys. One great improvement made by Messrs. Boardman & Gray, and placed in all their piano-fortes, we believe is not used by any other maker. We refer to their metallic OVER damper register and cover. The dampers are held in their places by wires or lifters passing between the strings and through the register, which holds them as they are acted on by the keys and pedal. This register is usually made in the old way, of wood, and placed _under the strings_, and, consequently, the weather acting on the wood is liable to warp or spring the register, and thus throw these wires or lifters against the strings, causing a jingling or harsh jarring when the piano is used; and, then, the register being placed beneath the strings, and the lifters passing through it and above the strings to the dampers, of course they are liable to accidents, and to be bent and knocked out of place in many ways by anything hitting the dampers, as in dusting out the instrument, &c. But this improvement of Messrs. Boardman & Gray covers all these defects in the old register. Theirs, being of iron, is not affected by the changes of the weather or temperature of different houses and rooms; and, then, being placed _above_ the strings, the dampers are at all times protected from injury. Consequently, their piano-fortes never have any jangling or jingling of the strings against the damper wires. This we believe to be a most valuable improvement, and, at the same time, the beautiful metallic damper cover is highly ornamental to the interior of the piano-forte.
When the case is thus finished, it can be tuned for the first time, although all is yet in the rough and unadjusted state; and from the finisher, after being tuned, it passes into the hands of the "regulator."
(Concluded next month.)
THE STOLEN MATCH.
BY HON. CALEB CUSHING.
The vesper bell had tolled the hour of _oraciones_, in Valladolid, at the close of an autumnal day, in the year 1469, and the crowds of worshippers reverted to their accustomed pleasures and pursuits, after making their evening salutation to the Virgin. Small parties of armed horsemen had been seen to enter the city during the day, who one by one disappeared under the half opened and quickly shut gateway of here and there a dark stone dwelling, whose grated windows and heavy walls seemed to be designed to guard its inmates against the assault of feudal enemies, quite as much as to shelter them from the elements. But the spectacle of military array was of too ordinary occurrence to awaken the attention of the plodding burghers, who, muffled in their large cloaks, were sufficiently happy to remain unmolested themselves by the mail-clad cavaliers, without seeking to pry into their business; to do which, would only have subjected such over-curious persons to fierce words, and perchance rude blows to back insulting speech. And it was vain to speculate on such a matter, in times when grandee and peasant alike made war at will on their own account; and no powerful chieftain moved without a retinue of right good lances beside him, inured to violence, and bound to follow his banner for weal or woe. As the sun descended behind the mountains of Leon, a sharp wind rushed along the valley of the Duero, and sweeping up the Pisuerga filled Valladolid with its chilling blasts; but the tramp of steeds and the clang of armor still rang upon the ear, long after night had thrown her dark mantle over the gothic towers of the city.
Occupying a large space on a side of the Campo Grande, at one extremity of the city, stood a stately edifice, rising amid the numerous churches and long ranges of unsightly convent walls, which formed the prominent objects in that immense irregular square. The richly ornamented front of this mansion, although its heavy carved mouldings and friezes, and indeed its entire surface, had acquired the deep brown hue of venerable age, was yet untouched by the hand of decay; and in its mass no less than its ornaments bespoke the wealth and consequence of its occupant. Indeed, the coat of arms of ample size, overhanging, as it were, the keystone of a huge arched gateway, which, being placed in the centre of the façade, constituted the sole entrance to the inner court-yard, and the apartments of the building, afforded conclusive evidence that it belonged to one of the proud nobles of Castile. Its lower range of windows was guarded by strong stanchions or bars of iron, extending longitudinally up and down, and built fast into the solid masonry. Balconies, also of massive iron bars, but wrought into tasteful shapes, and resting upon sculptured slabs of stone, jutted out in relief from the window-sills of the upper windows, which were secured by means of thick shutters of carved oak, made to open inwards, like folding doors, and fastened by movable stanchions of a peculiar form, called _fallebas_, somewhat resembling in make and movement the iron crane used for hoisting merchandise. Within the quadrangle or _patio_, where a small fountain played into a marble basin, was a postern door, which conducted through a terraced garden towards the outer wall of the city. A small, square turret, rising at each corner of the roof, rather for ostentation than use, completes the picture of the town residence of Don Juan de Vivero.
Late in the evening, a solitary cavalier, attended only by a _mozo de espuelas_, or groom, spurring along his weary steed, rode up to the front gate of this house, and knocked for admission. At the signal, the _mirilla_, or little door in the gateway, just large enough to look through and see what was without, was cautiously unclosed; and to the challenge of the porter the whispered reply of "_Gente de paz_," in the well known voice of Don Gutierre de Cardenas, caused the gate to be quickly unbarred for the reception of the horseman and his follower. The appearance of Don Gutierre, as he became exposed to the light of the torches within, indicated a plain citizen; it might be a common trader, it might be a mere artisan; and ere he had well dismounted and given his jaded and travel-soiled horse to the domestics, a lady hastily entered, who started at the garb and appearance of the new-comer; but without waiting for the usual exchange of salutations--
"Now what tidings, señorito, for my lady," cried she, "and why dost thou come hither thus travestied and alone, when we look for other attendance?"
"Content thee, Doña Beatriz," said the cavalier, "and conduct me straight to thy lady, or to the lord Archbishop, if he be here."
"I trow," answered Doña Beatriz, "she will welcome thee none the better for the precious specimen thou wearest of the skill of Zaragoza tailors, nor for carrying into her presence thy sweet person covered with dust from every bypath, between Osma and Valladolid, nor for speeding so ill in thy mission."
"Content thee, again, I say, and lead on," rejoined he, "lest I be tempted, in guerdon of thy swift wit, to kiss thy soft hand unbidden;" and he followed the laughing Doña Beatriz to the apartments of her lady. Scarce had their footsteps died away on the staircase, when Don Juan de Vivero was summoned in all haste to the presence of his fair guest; and the hurry of sudden preparation, and the eager looks of anxious expectation pervaded the late quiet household.
Midnight was fast approaching, when Don Gutierre once more appeared, and sought admission into the cabinet of Doña Beatriz. He now came forth, clad in the rich apparel of a Spanish cavalier of that day, which he bore with the habitual grace and ease that showed this, rather than the humble garb he had worn before, was the appropriate dress of his rank. The apartment into which he was ushered was simply, and compared with the usage of our age and country it would have been called meanly, furnished. An _estera_, or matting of woven sedge, was spread on the floor, and heavy embroidered hangings covered the walls, rudely representing the gests and triumphs of Bernardo del Carpio and my Cid the Campeador; but the chairs and other utensils were coarse in make, and such only as necessity required. It was in other form that the grandees of that day displayed their magnificence and squandered their wealth.
Prominent in the room sat an elderly man in the long ungainly robe and other attire of an ecclesiastic of rank, who, although advanced in years, yet evidently retained the vigor of manhood unbroken, and, to judge from his stately air and the fair glance of his eye, could do his part in the _mêlée_ as bravely as the best, and would not scruple, if occasion required, to change his crosier for a lance. It happened then, as it does now, that the higher benefices of the church were generally the appanage of the younger members of noble families; but it was the case then, as it is not now, that to maintain his place a noble must have been either wise in council, or daring in fight; the glories of a horsejockey and cockfighter may become a peer in the era of improvement, but herein did not consist _their_ glories; and the prelates, who sprung from the blood of men accustomed to command, naturally partook of the spirit of their sires. They were not rarely foremost in the civil wars that formed the chief business of mankind in the Middle Ages; and Don Alonso Carrillo, Archbishop of Toledo, for it was no less a personage who sat in that presence, had played his part undauntedly among the boldest knights of Castile.
He was earnestly conversing in a low voice with a lady near, whose face as she sat was slightly averted from the door; while Doña Beatriz and a third lady stood in the apartment, who, with the Archbishop and Don Gutierre, made up the whole party. Doña Beatriz had the full black eye and the raven tresses which we associate with a southern clime, and that brown shade of complexion which, but for the healthfulness of her tint, and the animation of her whole face, would scarcely have escaped the reproach of tending to sullenness of aspect. But of her, afterwards so celebrated by the name of Condesa de Moya, time had not yet touched the beauty. The lady, who stood by her side, Don Gutierre saluted as Doña Mencia de la Torre; and both of these ladies waited, with all the subdued respect of tone and deference of deportment due to the highest rank, upon the youthful incarnation of loveliness with whom the Archbishop conferred.
A low bodice or corset of black velvet, fitted closely to her waist, displayed the perfect proportions of a bust that was just blooming into womanhood. A _brial_ or petticoat of the same rich material depended over the full, but well-formed and graceful contour of her limbs. This part of her dress was fastened at the waist by a kind of brocaded belt, embroidered with jet and brilliants, and a band of similar workmanship ran from the belt down the middle of the _brial_ or skirt, and was continued in a border around the bottom of it; a border of the same general description running around the upper part of the bodice next to the neckerchief. The tight wristbands of the dress were adorned by several bands of corresponding make and materials. Above the bodice she wore a wrought kerchief of the costliest Flanders lace, fastened at the throat with a gold brooch, and having a border of very peculiar workmanship. It was narrow, as compared with the belt and bands of her _brial_, and instead of the wreaths and fanciful figures embroidered on them, it bore the form alternately of a castle and a lion, wrought in rich gems of various kinds on a silver ground, forming a splendid edging to the kerchief, double in front, and passing all around the neck. A large diamond cross, set in pearls, was suspended over her bosom from the rich pearl collar, which, as being the princely gift of him whose coming she awaited, was the fitting ornament of her person on this occasion. To complete her habiliments, a flowery tabard, as it was then called, or rich mantle of crimson silk, bordered with damask, was thrown over her shoulders and arms, hanging down to the floor, and a white veil of thin delicate lace, gauze-like and transparent as woven air, covered, without concealing, her dark brown tresses, and, being fastened in front by the brooch on her bosom, could be dropped over her face at will, so as to increase the effect of the beauty which it veiled, like the light fleecy clouds flitting along the moon's orb in a bright autumnal eve.
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Godey's Lady's Book, Vol. 48, January, 1854Chapter I: Front Matter (1)
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