The man who actually made the first pianoforte was an Italian, Bartolomeo Cristofori (1653–1731) of Padua; and the Frenchman Marius, and the German, Christoph Gottlieb Schroeter, followed suit. In 1709, Cristofori exhibited harpsichords (_gravicembali_) with hammer action capable of producing _piano_ and _forte_ effects. He advertised it in the paper as a _gravicembali col piano e forte_. By 1711, the fame of his invention had spread into Germany. In February, 1716, Marius in France tried to improve the harpsichord with hammers which he called the _clavecin à mallets_, and made two types. Schroeter about this time made the two kinds also. The piano had little standing, however, until Gottfried Silbermann took advantage of Bach’s criticism of his pianos and made a _grand_ type. The next experimenters in pianos were, Frederici of Gera (died in 1779), who made the _square_. Spaeth, who made _grands_ and George Andreas Stein in Augsburg, who was trained by Silbermann, invented the Viennese action on which a light touch was possible and for this reason Mozart used it. Burkhardt Tschudi, a piano maker in London, had a Scotch assistant, James Broadwood, who became his partner (1770). Later the firm became John Broadwood and Sons, which it has remained. It was the first to use the damper and the soft pedals. For some time they used Zumpe’s style of square piano but later made their own. This house used the Cristofori action which made a more solid and heavier tone than the Viennese action, and was known as the English action, excellent for large rooms and concerts. These actions suited the different methods of piano playing. Stein’s daughter Nanette Streicher, a marvelous player and a cultivated woman, upon inheriting her father’s piano business moved to Vienna and for forty years was considered an expert in the piano world. Thayer, in his life of Beethoven says: “In May, Beethoven, on the advice of medical men, went to Baden, whither he was followed by his friend Mrs. Streicher ... who took charge of his lodgings and his clothes, which appear to have been in a deplorable state.” Thayer says that Beethoven always preferred the piano of Stein to any others. Beethoven wrote to Nanette: “Perhaps you do not know, though I have not always had one of your pianos, that since 1809 I have invariably preferred yours.” So, you see a woman could keep house and be a manufacturer as well, even in the early 19th century! Then came Sebastien Erard (1752–1831) who made the first French piano in 1777. Erard invented many new things for the piano and formed a company in England. This firm was advertised on the hand bill announcing Liszt’s concert in Paris when he was twelve years old. Added to these names is Ignaz Josef Pleyel (1757–1831), who also made a piano with a very sympathetic tone which Chopin made famous from 1831. The Pleyel and the Erard are still the leading pianos of France.