In the form of a simple case, fit to be laid on the table, and later when fitted with its own stand, frequently painted on top and sides, or with its keys set in ivory and metal, the clavichord continues to the beginning of the nineteenth century. Although the strings were then duplicated, although it was possible to attain in the touch stronger or weaker, louder or softer, expression, yet it could not, with its far too great simplicity of tone, hold its place in the rapidly hurrying development of music. It had taken one thousand years to improve the monochord, five hundred more to produce a clavichord, two hundred and fifty more were required to bring the clavicymbal[22] form to its perfection; and yet a hundred and fifty for the clavicymbal to emerge into a Steinway or a Bechstein. The _clavicymbal_ represents a second form of the clavier, which begins its career about 1400. Its invention is directly due to the influence of the organ. When the clavier began to replace the organ in the home, a desire was felt for the stronger notes of the great wind-instrument. The clavichord was unequal to the task. A new technique was required. The strings, instead of being touched and divided, were plucked with quills, which stood out at the side from the jacks, at the end of the key-lever. For this purpose it was necessary of course that the strings should be tuned each to its proper note, and therefore have each its due length. The mechanism of plucking, and the measurement of the strings, give to the clavicymbal its character as distinct from the clavichord. The tone becomes rippling, metallically glittering, firm and yet rattling; nay, it might be called romantic, if it could sustain its poetical air, which it gains for us in the first instance by its strange character. But it was a defect that the tone was unsuitable for _nuances_; for, unlike the clavichord, it was unable to produce _forte_, _piano_, or the “Bebung.” Here a hint was taken from the organ. Stops, as with the organ, were added; these, as they were drawn out or pushed in, made it possible to use either one, two, or three strings on any single key, thus offering three gradations from piano to forte. Or, by the same means of a stop, a damper of leather or cloth was put on the strings, and thus an imitation of the lute was effected. Or, thirdly, both these appliances were united by providing two keyboards placed one over the other, on which at will the player could play loud or soft. Hence arose dozens of combinations. Strings were coupled in unison or octave, registers were made either for hand or foot, keyboards were made to shift, the shapes of the cases were either rectangular or in the “flügel” form (like our grand pianos) to accommodate the gradual shortening of the strings as they reached the higher octaves, the cases were either small, or larger, and furnished with magnificent stands, such as were brought out by the