Illustration 306 shows the form in which the square piano was finally made, and which, with few variations, continued fashionable until the introduction of the present style of upright pianos, since when there have been practically no square pianos manufactured. This piano was made by Henry Hawkey of New York, about 1845, and it is noteworthy because the keys are made of mother-of-pearl, and the scrolls above the keyboard are inlaid in mother-of-pearl. The case is covered with rosewood veneering, and the legs are large and clumsy. The music-rack and pedal support are similar in style to those now in use. [Illustration: Illus. 307.—Harp, 1780-1790.] Proficiency upon the piano and spinet would appear to have comprised the chief accomplishments in instrumental music of the young ladies of the eighteenth and early nineteenth centuries, as far as we can judge by mention of such accomplishments. But it seems reasonable to suppose that where a few English ladies employed their fair hands upon the harp, there were not lacking a similar number of Americans who also appreciated the opportunity which that classic instrument affords of displaying the grace and beauty of a rounded arm and wrist. Even in our own day, the list of those who play the harp is restricted, and it must have been the same in early days, hence the lack of allusions to the harp. When Lady Morgan, the “wild Irish girl,” was creating such a sensation in London with her harp-playing, it is certain that she had imitators in this country. Christopher Columbus Baldwin, in his diary of 1832, speaks of Madam Papanti, who at that time lived in Worcester with her husband, the famous dancing-teacher. She gave music lessons, possibly upon the harp, for Mr. Baldwin tells of her playing that instrument upon Sundays at Dr. Bancroft’s church, while her husband played the French horn, “which, with two flutes, a base viol, and violin, make very good musick.” Illustration 307 shows a very beautiful harp made previous to 1800, belonging to Mrs. Reed Lawton of Worcester. In construction it is not very different from the modern harp, although considerably smaller. It is exquisitely carved, and instead of being gilded is painted in colors, and finished with a varnish like the vernis martin, the general effect being a golden brown. The harp which Marie Antoinette played upon is still preserved, and is very like this one. CHAPTER X FIRES AND LIGHTS [Illustration]