water; and, when the solution is completed, two measures of the same, or thereabout, are to be added to one measure of the oil, and united by stirring or agitation; and the three measures of compound liquor, thus produced, do constitute and form our said mixture, and will be found to produce the effect of oil when applied in the same manner as oil is commonly used in manufacturing cloths, coatings, kerseymeres, blankets, and every other description of woollen goods.

No instructions are necessary to be given with regard to the oils, or the method of applying the mixture, oŕ the quantity of the same to be used with wools of various qualities and colours, because the oils may be of any kinds suitable to be used with wool, and the operations must be governed by the usual skill and judgment of the workman.

Now farther, we do hereby state and declare, that although the description here given is a true and full specification of the practice or method of making and using our said mixture, we do nevertheless apprehend, that it may be of some advantage to the public to state our notions with regard to the nature of the said mixture, as far

concerns the effect thereof, viz. In all the operations upon wool, the manufacturer endeavours either, first, to extend it by carding or spinning, or similar practices ; or, secondly, to unite, condense, and connect the same by weaving, fulling, felting, and the like. In the first of these two distinct purposes it is necessary that the fibres of the wool should, by means of some lubricating matter, be made to slide easily over each other, instead of fixing, knotting, and entangling themselves together, and no material hath been heretofore known which was adequate to the effect, except oil in a pure state, or nearly so. Water itself is too harsh a fluid, and soon evaporates;

evaporates; and the perfect combination of oil and alkali called soap (if dissolved in water in the large proportions requisite) is found to become stiff, and cloggs the staple or fibres of the wool. But our mixture being in fact a diluted solution of the best potash, or alkali of commerce, not in the caustic or chemically pure state (though in this degree of dilution the caustic alkali may be used in forming our said mixture), but naturally combined in part with carbonic acid; and this solution being mixed, by agitation, with a large proportion of oil, the result must consist of oil, minutely divided, slightly alkalized, and capable of being applied over the extensive surface of the fibres, together with a solution of mild or partly saturated alkali, which it is well known does not become perfectly dry, but is disposed to remain in the state of deliquescence. This last fluid is (as we apprehend from the facts) well adapted to assist in the lubrication along with the oil, and even to produce an effect, by their joint action, superior to that which either fluid singly could have done.

In witness whereof, &c.

REMARKS.

To the superiority which this mixture possesses over oil, as pointed out in the above specification, we have to add, that in the operation of scowering or cleaning the goods from the oil after they are wove, less time and labour is required. It is proper to observe, that in no instance is the effect of this composition, when applied to the wool, different from oil, except on very greasy or salvy wool, and on which we do not recommend its use (particularly in hot weather), unless such wool has been previously scowered.

Specification of the Patent granted to ANTONIUS BemetzRIEDER, of Chelsea, in the County of Middletex, M. A. ROBERT SCOTT, JOHN SCOTT, and ALEXANDER SCOTT, all of Margaret-street, Cavendish-square, in the said County, Musical Instrument-makers; for making Piano Fortes, entirely new both in Principle, Construction, and Shape. Dated November 10, 1801.

Το To all to whom these presents shall come, &c. Now KNOW YE, that in compliance with the said proviso, we the said Antonius Bemetzrieder, Robert Scott, John Scott, and Alexander Scott, do describe and ascertain the nature of our said invention, and in what manner the same is to be made and performed, as follows; that is to say:

First. The strings are fixed upon a frame, which has the shape of an irregular hexagon, in a way or method similar to, and imitating, as nearly as possible, the office of an horizontal harp. This string-frame is strong enough in itself to resist fully the drawing of all strings used either in grand or square piano fortes; and although the front and right sides of the frame are apparently connected with the exterior circumference, yet they require no additioual strength from it, or from the bottom, to resist their respective drawing forces,

Secondly. The belly, with its two respective bridges, is fixed within the string-frame at the upper or widest part thereof, but an additional bridge can be added, dividing the compass of strings into three equal parts, and may be placed on the same belly, or on a separate small belly, at the lower or narrow extremity of the stringframe.

Thirdly.

Thirdly. The width of the string-frame is determined by the extention and compass of strings contained and placed on its respective bridges, viz. three unison strings to each note want eighteen inches for the largest width, and fourteen inches are sufficient for two unison strings to each note of an additional key'd instrument of sixtyeight keys.

Fourthly. The exterior circumference or outward case of the instrument is rectangular, the front-side circular, and the back, right and left sides straight; but, this circumference could be oval or triangular if so desired or required. The length and width are comparatively smaller than any one possible upon the old construction.

Fifthly. The front and back of the instrument have both doors in the middle near the string-frame. From the front doors the keys are drawn out for the player; and from the door in the back all the parts of the action can be regulated or mended when required.

Sixthly. The frame of the action is unconnected with the string-frame. Each frame is independent of the other.

Seventhly. Besides the ordinary motions up and down, the keys have an horizontal motion from the back to the front, and vice versa from the front to the back.

Eighthly. The dampers are above the strings, but may also be under them. When above the strings they may be taken out one by one, being loosely suspended on the strings in an upper and under socket, which sockets are fixed to the front side of the string frame in an horizontal position. When under the strings, they draw out at the back-opening, in both cases their lifters are independent of the keys.

Ninthly.

Ninthly. The top of the instrument opens at the back by means of a swelling pedal; and at its front is a musick desk, which rises out of the top itself equi-distant from the extremities of the keys. This desk is first separated from the top, and afterwards affixed to the opening, made by such separation, by means of two small hinges, thus capable of being elevated to any degree of inclination the player may choose, being supported when elevated by a moveable back foot, which, together with the whole desk, shuts down within the limits of the said opening. The whole top is made to be taken off with the greatest ease, by unfastening the turn buckles or strong brass hooks which fasten it at its two ends or greatest extremities.

These differences from the old construction are not merely works of chance, they are grounded on principles either hitherto unknown or neglected.

First. Besides the known proportions, there is a maximum, that is, a more advantageous point where the hammer ought to strike the string. This maximum requires the action in the middle of the instrument.

Secondly. Strings riding upon a sonorous plank can give but a thin and stiff tone; but strings riding upon a sonorous body must give a finer, full, and singing tone. This is the reason that the new string-frame has all the solidity wanted to resist fully, and by itself, all the drawing forces, in order that a light and sounding back may form a sonorous body with the bridge-belly.

Thirdly. The piano forte music is harmony; and harmony proceeds in its propagation from the treble to the bass, and ought to go directly, and without reflection, from the action of the player to the ears of the auditors. This is the reason why these new instruments have the bass and swelling at their back.

Fourthly.