=The Harpsichord=.—The Harpsichord proper was simply a larger form of the Spinet and Virginal, and was made in the form of the grand pianoforte. On account of its added brilliancy of tone, it was admirably adapted for use in the orchestra, in which it became the conductor’s instrument in connection with the opera. In Italy, the terms Clavicembalo and Gravicembalo were given to it, while in Germany it was called Flügel, or wing, from its wing-shaped cover. As it became popular as a concert instrument, many inventions were added to increase the brilliancy and variety of its tone: an extra keyboard was placed above the first, as in the organ, and three or four strings were given each note, which could be used to reinforce the single-string tone, by means of the second keyboard. Moreover, various kinds of quills were invented, giving different tone qualities; and such effects were controlled by stops or pedals. These experiments were especially numerous in the 18th century, in which the rapid growth of musical resources demanded constantly more tonal possibilities. Large manufacturers, such as the Ruckers family of Antwerp, and Tabel in England, vied with each other in producing novel devices, such as the imitation of other instruments, the tuning of an extra string for each note an octave above its normal pitch, and the addition of a keyboard connected with an organ. Attempts to produce a sustained tone resulted in the Piano-Violin, in which a revolving rosined wheel was pressed by the key against the string, to continue the tone; but all such were abandoned finally as unsuccessful. [Illustration: TWO-MANUAL HARPSICHORD.] =Invention of the Pianoforte=.—To this exceptional activity in keyed instruments, and the final failure to produce a singing tone capable of variation in the Harpsichord, we owe the invention of the Pianoforte. In 1711, =Bartolomeo Cristofori=, a noted harpsichord maker of Tuscany, exhibited several “forte-pianos” in which the action was so constructed that the keys, when depressed, threw little _leather-headed hammers_, affixed to a bar above them, _against the strings_, thus making it possible to modulate the strength of tone by the degree of force with which the keys were struck. When the key was released, a _damper_ came against the string from beneath, _stopping further vibration_.