The harpsichord "harp"-stop, which muted one string of each note by a piece of leather, became, by the interposition of a piece of cloth between the hammer and the strings, the piano, harp, or _celeste_. The more complete sourdine, which muted all the strings by contact of a long strip of leather, acted as the staccato, pizzicato, or pianissimo. The Germans further displayed that ingenuity in fancy stops Mersenne had attributed to them in harpsichords more than a hundred and fifty years before, by a bassoon pedal, a card which by a rotatory half-cylinder just impinging upon the strings produced a reedy twang; also by pedals for triangle, cymbals, bells, and tambourine, the last drumming on the sound-board itself. Several of these contrivances may be seen in a six-pedal grand pianoforte belonging to Her Majesty the Queen, at Windsor Castle, bearing the name as maker of Stein's daughter, Nannette, who was a friend of Beethoven. The diagram represents the wooden framing of such an instrument. We gather from Burney's contributions to "Rees's Cyclopaedia," that after the arrival of John Christian Bach in London, A.D. 1759, a few grand pianofortes were attempted, by the second-rate harpsichord makers, but with no particular success. If the workshop tradition can be relied upon that several of Silbermann's workmen had come to London about that time, the so-called "twelve apostles," more than likely owing to the Seven Years' War, we should have here men acquainted with the Cristofori model, which Silbermann had taken up, and the early grand pianos referred to by Burney would be on that model. I should say the "new instrument" of Messrs. Broadwood's play-bill of 1767 was such a grand piano; but there is small chance of ever finding one now, and if an instrument were found, it would hardly retain the original action, as Messrs. Broadwood's books of the last century show the practice of refinishing instruments which had been made with the "old movement." [Illustration: Fig. 1.]