To return to the grand pianoforte. The origin of the Viennese grand is rightly accredited to Stein, the organ builder, of Augsburg. I will call it the German grand, for I find it was as early made in Berlin as Vienna. According to Mozart's correspondence, Stein had made some grand pianos in 1777, with a special escapement, which did not "block" like the pianos he had played upon before. When I wrote the article "Pianoforte" in Dr. Grove's "Dictionary," no Stein instrument was forthcoming, but the result of the inquiries I had instituted at that time ultimately brought one forward, which has been secured by the curator of the Brussels Museum, M. Victor Mahillon. This instrument, with Stein's action and two unison scale, is dated 1780. Mozart's grand piano, preserved at Salzburg, made by Walther, is a nearly contemporary copy of Stein, and so also are the grands by Huhn, of Berlin, which I took notes of at Berlin and Potsdam; the latest of these is dated 1790. An advance shown by these instruments of Stein and Stein's followers is in the spacing of the unisons; the Huhn grands having two strings to a note in the lower part of the scale, and three in the upper. The Cristofori Silbermann inverted wrest-plank has reverted to the usual form; the tuning pins and downward bearing being the same as in the harpsichord. There are no steel arches as yet between the wrest-plank and the belly-rail in these German instruments. As to Stein's escapement, his hopper was fixed behind the key; the axis of the hammer rising on a principle which I think is older than Stein, but have not been able to trace to its source, and the position of his hammer is reversed. Stein's light and facile movement with shallow key-fall, resembling Cristofori's in bearing little weight, was gratefully accepted by the German clavichord players, and, reacting, became one of the determining agents of the piano music and style of playing of the Vienna school. Thus arose a fluent execution of a rich figuration and brilliant passage playing, with but little inclination to sonorousness of effect, lasting from the time of Mozart's immediate followers to that of Henri Herz; a period of half a century. Knee-pedals, as we translate "geuouillères," were probably in vogue before Stein, and were levers pressed with the knees, to raise the dampers, and leave the pianoforte undamped, a register approved of by Carl Philip Emmanuel Bach, who regarded the undamped pianoforte as the more agreeable for improvising.. He appears, however, to have known but little of the capabilities of the instrument, which seemed to him coarse and inexpressive beside his favorite clavichord. Stein appears to have made use of the "una corda" shift. Probably by knee-pedals, subsequently by foot-pedals, the following effects were added to the Stein pianos.