=Early Makers=.—Although this invention did not at first attract widespread attention, it undoubtedly formed the basis of the others which quickly followed it, and really asserted the principle afterwards adopted for the piano action. In 1716, =Marius=, a French manufacturer, submitted four models for piano actions, which, however, were never developed. Also, =Schroeter=, a German, constructed two models of piano actions, in 1717, in one of which the hammers struck on top of the strings; but neither of these was put to practical use. Finally, =Gottfried Silbermann=, of Saxony, distinguished as an organ and harpsichord maker, made two pianofortes, the action of which was evidently based on that of Cristofori, and which he exhibited to J. S. Bach. While praising them in many respects, Bach criticised them as too weak in the upper notes, and too hard to play. Silbermann was exceedingly painstaking as a workman, having the reputation of breaking to pieces with an axe even a finished product which showed any imperfection. He therefore set to work to remedy these defects, and, in 1737, produced several pianofortes which won Bach’s unqualified approval. =Superiority of the Piano=.—The Pianoforte was now placed upon a firm basis; and although many years elapsed before its resources were developed sufficiently to cause its universal adoption by musicians, the final victory over its predecessors was complete. And this victory was natural, since the Pianoforte was found capable of combining the best qualities of the Clavichord and the Harpsichord, with the addition of a tone capacity infinitely superior to either.