PERKINS LIBRARY 
 
 Dulce Universi^ 
 
 Rare Boole. 
 
C6e ^c^omacftej 
 
 5LVLNTY-TWO YLARS AGO 
 
 THL 5CHOMACKLR PIANO 
 WAS ONL OF FOUR: THLRL 
 WLRL NO OTHLR AMLRICAN 
 PIAN05. 
 
 TODAY THL 5CHOMACKLR 
 15 STILL ONL OF FOUR. AL- 
 THOUGH THLRL ARL NOW 
 NLARLY TWO HUNDRLD AND 
 FIFTY OTHLR PIANOS. 
 
1838 1910 
 
 THE 
 
 SEVENTY-SECOND ANN1VERSAR\' 
 CATALOGUE OF 
 
 icliDinarter fonb anlilprigM|ianDS 
 
 AND THE 
 
 Jchoraarher^ngdopian 
 flayer- |5iano 
 
 MANUFACTURED B^' THE 
 
 SCHOMACKER PIANOfORTE MFG. CO. 
 
 ELEVENTH 8c CATHARINE STREETS 
 PHILADELPHIA 
 
^6e ^cBomacfte;^ 
 
 Pianos Cost More to Build 
 Than Any Other Pianos in the 
 World. 
 
 \ This Were a Negative Virtue 
 had it not Been Proven that 
 the 5ame Quality has Never 
 been Obtained by Anybody 
 Else at Any Price. 
 
 And it is Axiomatic that 
 there is No Price Too High to 
 pay for Superlative Quality. 
 
THL 5CHOMACKLR PIANO-FORTL 
 MANUFACTURING COMPANY' 
 
 Founded in Philadelphia in 1838 
 
 Incorporated by Special Act of the Pennsylvania 
 Legislature in 1864 
 
 Presiijent : 
 \'ice-Pkesident : 
 Secretary : 
 Treasurer : 
 
 J. 15. WOODFORD 
 D. P. COMERER 
 H. C. SCHOMACKER 
 FRED REBMANN 
 
 Directors : 
 
 J. B. WOODFORD FRED REBMANN 
 
 D. P. COMERER E. F. TIBBOTT 
 
 H. C. SCHOMACKER W. C. SCHWAMB 
 
 Counsel: WM. L. NEVIN 
 
THL "CHILD OF 5EVLN" HAS BE.COML THL YOUNG LADY OF 5LVLNTLLN 
 
 e interval ,.f ten years tlierc liave been fireat changes in the de vein, ,nient cf the 
 
 impr 
 
 design of case lia\ e been radically changed. 
 
 Critical Philadelphia has given the Schomacker Pian<. its endorsement and h 
 tu import pianos from luigland. 
 
 How well the Schomacker Piano justified this expressed preference of its he 
 the fact that in IMS it was awarded the Great Silver Medal ..f the Franklin Inst 
 and in l,S48 the First Award and Medal of the American Institute of New York a 
 Institute of Baltimore — more and greater honors than h,id, up to that date, been 
 other American piano. 
 
1858 
 
 THF. "CHILD OF 5LVLN"— NOW A WOMAN OF TWENTY-5LVLN — LNTLRTAI N5 IN 
 HF.R r'HILADLLPHIA HOML 
 
 >'^11K S, ln„„,„ k.r l>i.,t,...,i> whH h .lu- u«.k lur luM K-..,.n tw,-iitv \r.,i- .r'o 1,,,. ,K-v,-l. .pr.l infi a 
 
 Tlu- Mu, r>sn| tlK- rnl,r|.iis,. i,r, , ~sii .,lr. 1 ll ic rn ■. 1 i. 1, , i„ KS55..I llic iiivsciu lactury at F:ic-vcnth 
 and Catharine Streets, wliii h u.i^ jir.iiK 1 nlar'^cd in 1S7S. 
 
1 863 
 
 THL "CHILD OF SLVLN NOW A WOMAN OF THIRTY-TWO PLAY5 THL SCHOMACKLR 
 PIANO AT THL WHITL HOU5L FOR PRL5IDLNT LINCOLN 
 
 THE vrars fn.m 1 s5s to lN<o s.vvv imt ..nlv tlu- m. .st moiiu-ntous in tlic [...litirai liistxrv nf .,ur 
 r.mntr\ l.ui ^1 rxt r.,-nl n,., rx imp, iftati, .- in ilu- ,lcvc-l( .pment ..f musical interest an.rniusical 
 
 Mans cnii-rtinns unv in tl.r field u h, , ,l)alli-n'^c. I tlie sn| -ivniac v , .f tlu- plan. , which vv,.u such 
 conspicuous honors in 1S4.=;, 1S4,S, 1S5J and 1 S.SS, hut thr S, lio,,ia< Lrr . outiinicd t. . m-i xc as a leader in 
 the development of l.oil, structural improvment and ar. Inlr, tural ,K-i'jn. 
 
 It will he noted that the full carved le- had super>e,h .l th e o, t.ejon , a ud the hirue. " Square 
 
 register and amplitied tonal capacity. 
 
 In l.S(.l President Lincoln selected the Schomacker Piano for Ins use at the Kxi^cutive Mansion 
 and this was followed hv a similar de mand from nearly all the cabinet, miiitarv .md di],l..matic oihcials 
 in Washin-tou, and fixed h.r all time the popular and artistic status of dns ii'iano al the Capital. 
 
1 886 
 
 THL "CHILD OF 5LVLN"-NOW A LADY OF FIFTY- FIVL — L15TLNS TO HLR GRAND- 
 DAUGHTLR'S NLW 5CHOMACKLR UPRIGHT 
 
 AND this lady — ..ne n{ tlie liest ruprcsrntativcs ..f tl,,it ni--t critical an.l CMmpctrnt ctrrie 
 ciimprisfd within tlie musical lines. .f I '1 lilailcl i I'l r T- ■:; • i^n s.uict\ ii..tcsuith interest 
 
 the difference between the inodern upii-Jit i; ■ \' r ind the .piaint little si\-n, tave 
 
 square instrument . .n which she learned t.- i-las |..n\ -ri,Mi. \, i . i.ue. Alth.uiuh intmduced ah.mt 
 1870, the upri<;ht jiiano was not received witli immediate la\ . ir — princip<illy because "it did net Inok 
 like a i)ianc)" and it was not until aln.ut ISS.^ that the prejudice was nx ei'Ctime and its use became 
 general. 
 
 ^The manufacture .>f upri-hts and lar-^e in.-rease in the drniand f-r urands necessitafd an 
 
 In 18.S1 President Garheld hail a Schomacker bian.. durin'^ his short iucumbnu v ..1 the White 
 House and one was later furnished t.. President Arthur by whom it was used until bSS5. 
 
A PIANO PARADOX 
 
 NO PIANO LVILR NLLDLD AN INTRODUCTION LL55 
 
 NO PIANO EVLR NLLDLD AN INTRODUCTION MORL 
 
 NO c,ilal<..L,Mu- was cxcr sulmiittt-d to the iiuisifal wcirld (K'strii)ti\-c <<( a piano 
 that n,-r.U Iru.T word. <.f intr. uhu ti. mi than tin- Schom.irkrr. 
 
 N..t that it has l.c-rn ^o l,,\ishly A<\vrvU^r<\ .a^ ni,in\- .ah a- lail hrranse 
 it has Ihtm in ronlinn.ais cMsKairr ha' -.'Nt lU \ -t\\ o N r.n- .in. I the hi-^t.-ry ..f the 
 pian.i laisi,,,-s. ,lis, Iom's th.it n.. pian.. rvry livr.l sr\vnty-tu.. var^ th.it ha.l not 
 actual nuait as a hasir and h.-u al rraM-n l..r Its h.n-r\ it\. 
 
 Sc\ i-nty-tw o years is l)ul a tritlini; jx'ri.Ml in the w i.rld'- < h n .n. .^^y Init it is a 
 loni: and cxia-rd in,L,dy i-\a-nttnl <>nv in ninn.Ml liisp.ry .nid th<- < h'\-.-h .pni.ait of 
 
 h.ihiy tlicav ar.- nn ac tiian two hun(ha-<l diffcrrnl pian..s nia.ir in the Tnited 
 ates al..n<- an.l prol.al.ly a. many more in lun'op.-. Scvaaitv-tw . - var^ a-., there 
 -re i.rol.al.K- lail |..ur an.l of th.-c four the Sriioinarkca- was ,,n.'. 
 
 (.i\a-n tile as.nranee lii.it tlie .^tdioni.H'ker I'i.iia. is .me of the- oldest American 
 ,mo. th.it has Mir\i\ed ,ind tli.it i t ori-i n a 1 e, 1 in rhiladelphi.i then the conceded 
 n-icil caaitre ..f llie iminlrx -\\ li. re its dexelopment and impro\a-ment have 
 aitinned without i ii 1 erru] it i. ai f. a' se\ent\- x.-.us ,iud yon h.i\e, uith.uit further 
 L^nnumt or intnxluct i. ai, the l.e^t pos.iMe -n.ir.nitee ..f its ch.ir.icter. 
 
 I'.ut : 
 
 1 here are equalK' p. it( iit m,i-..ii-. \\h\ the Scii.im.uk.r I'l.mo should he intro- 
 II la eseiit iul; .luy i itlua'. 
 mstrui'tion trom any other piano in 
 ip<Mi (Mie iilan c<immon to all, and the 
 
 du, a-d with a fullness <,f det.iil n.a ne.a-ss.n- 
 I he .Sehom.ick.a- diffca-s m.iteri.illy in 
 e.\ist( nee. All others are huilt snhst.int i.ill 
 
 dilf.aaaiee in (in.ility and i h.iracter i- 
 and kilior, ,ind the care ami intelli,L;em 
 minor < h.aiiLji-s ,md lmpro\aanents w 1 
 
 due 
 
 the diffcaaaua- in (|u,ility <if materials 
 hich del.iils .ire w..rked ,,ut. aided by 
 h,i\e ,111 imp.a-t.int innuence in the 
 
 i'.ut the Sch..m.ickca- h.is ,i pkm of constructi. ai r.i<lic.illy different in princii)le 
 from all others, which is t'xclusively its own and protected l)y lettia's patent. 
 
Nobody denies that the Schomacker Piano has a most extraordinary tone, of a 
 character peculiar to itself. Nobody hears it without reco5.,mizint^ its peculiar charm 
 and no musician listi-ns to it for the first time without an immediate and positive 
 couN-iction that lu- has to deal with an orit,dnal tone standard. The si'use of respon- 
 sibility which a trained and conscientious artist feels un(K-r such conditions is not 
 one that he can dischar^^e lis^htly : It is ,i \ astl\- dirfcrcnt nicnt.d and moral proposi- 
 tion from that inx olved in the //.vr ^//.i// of the ax-era^n- layman who disposes of the 
 whole matter at once by sayin^\ "1 like it" or "I don't like it." 
 
 No musician will fail to haw his attention arrested by the Schomacker tone 
 whi n he hears it : if he is truly an artist, as well as a musician, he will re5.jard the 
 tone as a direct challenge : but in any case he will reco.L,Mii/e its commanding ciuality 
 antl whether he acknowledges or disclaims its apju al to his personal temperament, 
 he will at once concede that it can never by any chance l)e mistaken for one of the 
 hoi-lH>lloi of i)ianodom. 
 
 Conceding, as Philadelphia has for half a century antl as the workl must sooner 
 or later, that the .Schomacker tone standard is one that must be reckoned with : 
 
 Conceding also that the Schomacker differs fundamentally in construction from 
 all other pianos as will \)v admitted by any intelligent piano manufacturer in the 
 country : 
 
 Therefore it seems but fair to assume that the original character of tone is due 
 to the original character of construction, and if this is true then the general public 
 at once becomes interested in the method of construction which has produced such 
 unusual results. 
 
 This will explain why the Schomacker Piano should be introduced with more 
 attention to detail than any other, and w ill fully justify the pages of explanatory 
 matter and illustrations of mechanical details which follow, but to which we should 
 not devote so much space if the Schomacker Pianos were built in the usual manner. 
 
 15 
 
THL HONOR OF ORIGINALITY 
 
 THE. DIGNITY OF LLADLR5HIP 
 
 TO thr S>-h<,ni,u-k.T I'iaii.. mu.t l.r r.mrr.K-.l [he A\iiu\[y :m<l lion.ir lliat attaches 
 tc. .M-i-inalit\ anJ mi, ..•..till 1, -a, i.-i'sli ip a. uill Ik- iva. 1 i 1 n' a. ! ni i 1 1.-. I \>y anyone 
 
 W hil.- a. 1.11.. , km- with -ratilti.K- tli.' h. n.'th. lliat it lia^ . 1 . a'i xa 1 from such 
 (K-vl..-. a. Iia\.- . ii-i-in.at.-.l with ..tli.a'-. an. I -in..' lic.an.' .-.inini.Mi property, the 
 Schonia. h< r Conip.niy ha^ \<-t thr -ati-la.! i. mi ..1 lai..\\ni- thai it ha- .ntributed 
 (|uite a. ninch as it lias rr.a-i\a-(l, n..t ..nl\ in r.v.ait yrar., Inil ni th,' rarly (Kays of 
 jMan.. .Ir\a-l.,pmrnt when .Aa-ry n)..\.- ua- a -t.'P ni lli,- .lark, an.l .-a.-h ..f ih.' few 
 nianufacturrrs ih.ai in .-xisLai..' ua. l.la/ni- an in(h-p(ai.liait path throuiih an 
 unknown f..r,-.t .1 t.. Ian. al . 1 iffu ul t i.-v 
 
 That this path ua. ... .u.a a-sslnlK- l.la/o.l I ,y the chKa- .Sch. .niack.M' as to have 
 l)ronuht hi. plan., an.l hi. luisin.-ss .ait int.. llic open in later years was a feat that 
 onK- thr.'.- ..tli.-r. a. .nipl i^he. 1. 
 
 J'lUt in.li\-i.lnal aelii.-\a-ni.-iit ■..-eni.-.i t.. nu-an ni.ire tli.-n than now. 
 
 •lo.laN, whil.- a nia|..rilN- ..! ni. ii appr.-. ial.- an.l aim at p.-r...nal In.livi.hialitv 
 and ,ar.- a-.- t.. k.a,,^ . iii. r.- imilat.a., .a' a..i-n.-.l a p...iti.ai a. .aie .>f 
 
 a "l..t/' \.-t tli.-.<- .am.- m.-n uiil <-nt. r tla- pian.. manufa. turiii- lm-.in.-.s and 
 1„- .-.mt.-nt t.. l.uil.l plan... lik,- ,-\ . -r\- 1 .. u 1 y eU,-, a\ail them..-l\-es .,f the ideas of 
 otiier. and ..aitrihnt.- n.ahin- t.. th.- -.-m-ral fmi.l ..f i n f . .rmal i. mi a\ailak)le to the 
 
 \\\- ar.- pr..lMl.l\ ^.,1.- in ^,,\in- that laa m..r<- liian ti\a- man u I a.- 1 u r. -r. have 
 c..nlril)iil.-.l anythinL; ..| ] .a i , a ii . m a , t i.ra.ti.'al vain.- in t..nal . l.-\ .-1. .pm,-ii t or 
 me.-hanieal .'on st rue t a a i in ih.- k..! titt\ yi-ar.. 
 
 When a man .leci<K-s t.. en-aL;a- in the m,nuifa.-t nr.- ..I plan... h,- n.nally l.nys a 
 j.i.ni.. fr.im .an- ..f the f.-w leadini^ mal^ers, an.l pr.u.-.-.l. 1.. ...p\- the ^.al.- and 
 api.r. ipriati- e\-er>- i.i.-a ,a\ailaf)le with.uit so nuuli a. .in aekm .wl.-. 1 L,Mii.-n t or a 
 thank y.ai t.. the mak.-r there..!. 
 
 .\n.l aft.-r all h.- hn.is that h.- hasn't a pian.. hk.- th.- ..riyanal, n..r anything 
 ri-'.<-ml)iinL^ it. 
 
 I'.ul why .iidn't h.- Mrike ..iit ..n ..ri-inal lin.-s an.l m.ik.- a new seal.- f..r himself ? 
 I'lu- i-esi-arehes, (-.\i)eriments and dc-ductioiis ..f Ilelmholt/ and other scientists are 
 K, 
 
C0e ^c5omacfte;t: 
 
 available to the whole world and were at his command just as they were to the staff 
 of the maker whose scale he copied. 
 
 Yes, but it costs money to buy brains that can take this mass of scientific tlata 
 and apply it to the practical solution of the intricate problems in acoustics which 
 are involved in piano construction. 
 
 And it is easier and cheaper to steal tlu' brains of others than to buy them. 
 
 And it is still easier and still clu-aper to get along without brains entirely, which 
 can be done up to a certain point if one is content to take (iiiy i)iano for a model 
 and build tlu-m in any way so long as they preserve the form. 
 
 And the market is Hooded with i)ianos of this sort — made by men to whom a 
 piano is a i)iano so long as it makes a noise : men to whom all pianos are alike and 
 to whom all talk of tone (luality is as unintelligible as Choctaw. 
 
 NOBLL55L OBLIGL 
 
 SOME recent events in the liistory of the Schomacki-r Company were calculated 
 to demonstrate pretty accurately who were its friends and who were not. 
 
 For some reasons that are obvious, and for some that would not be fully 
 understood without a more lengthy explanation than is jx.ssible oi- exeii desirable 
 here, we take a peculiar satisfaction in acknowledging that the most marked cour- 
 tesies, the most cheering words of encouragement and the most aijpreciative and 
 flattering words for the .Schomaeker Piano and reputation came from the ivw really 
 great manufacturers who maki' the few really great pianos. 
 We might ha\-e e.\i)ectt-<l it. 
 
 We might havi- known th<it men l)ig enough and broad enougii to ha\-e l)uilt up 
 the big industries which they direct would ha\x- been big enough and l)road enough 
 to say just what they did say. 
 
 And they knew piano tone absolutely Liicic it and could recognize it wherever 
 they found it else they had ne\-er made tin- tone their own pianos contain. 
 
 Nevertheless it was generous and honorable as well as just and politic for them 
 to say that which many had neither the wit nor the disposition to say. 
 
 There /.v something in this world beside ljusiness and dollars: 
 
 But vww if there wi're not, it had still been good business as well as good 
 manners to say just what they did: 
 \Vc shall not forget it. 
 
THL M05T LXCLLI5IVL PIANO IN AMERICA 
 
 FOR move than half a crntury nt ihr s, \ , iun -lu . , yrai s that it lia-. brcn in 
 cxi^lcncr this piano has (uaaipird th.' iiiii.iiic pn^itioii <.l" l)rin;4 the most 
 (■.\ihiM\-r piaiin ill AnK-riia if imt in the \\<nl(L 
 It had its hiilli in rhihiilrli)hia at a time when tlie (Juaker City was the most 
 exaetiiiu: inii^i. al c ity and the rec( il^ii i/ed musical centre ef the United States. 
 
 Mu-ieal ( liiii^ and nin^ieal people who at that time were nearly all comprised 
 within ^.Miailx- . X. luM\.- 1 1 nes — because nobody but wealthy ])Cople could then 
 alhad to nidiilL^c ihcpa-^iou tor music and the ])osse- sion of a piano was ,i mark ot 
 ^o, ial and artistic di-,tniction — thi. exclusive element — the social clientele of I'hila- 
 di-lphia — the llowcr of American society — which had previously bought il-^ ])iano-^ 
 mainly in London, at oner iecoL,Mdzecl the superiority of the Schomacker I'iano ami 
 exti-nded to the - 1 ru^-L,d i ul;" youni,'' manufacturer its patronage and t'ncoura.Ljemiait. 
 
 d die i)UNinc^s i,Mew rapidK', necessitating frequent increase of manufacturini,'- 
 facilities, yet from the l^•^t year to the present the entire output has i)ractically 
 be.-n ab.odie.l in l'liiladeli)hia, or at least in Pennsylvania, and these pianos are 
 .till to br f.mn.i in a majority of the noble old man. ions lor which PhilacU lphia and 
 it. .an iron, arr faiiion. a. well a. in the palatial modern residences ,in<l \ilia. that 
 excite Uir admiration of \i.iior., and in niaii\- thousands of the comfort. ilde 
 dw cllin.Li. that r e\ idenec of .u ti.tie ta.te and rehncment w hich h,i\ e L^iven a 
 m.u-krd indi\ idu.ility to this "t ity of lb. me.." 
 
 It i. true th.it ni. uu- .'^chom.iekrr I'i.mos h.i\c been sold in Wa.hinLClon as a 
 result of the prcderem-c L,M\cn th.it instrument by e.irh succ(,'ssi\e I'residiait anil 
 111. my diploni.itie oflici.ils lor .1 jM-riod ,,f forty yens, ,ind the 111. my .iw.nds ;uid 
 honors ( onharod h.i\c -vsultrd in ,1 drm,m<l from olli. i.ils, ropres.-nt.uixc men ;ukI 
 people ,,f proininiaico Ironi e\aa\- st.itc in the I'nion ; but the f.ict rrm.iiiis ih.it : 
 
 i here h.is never bo.ai .ni\- <ir-,ini/ed effort m.ide to sc^ll the .Schom.icker I'i.inos 
 outside of I'hil.idelphi.i .md tiibut.uy tcaritory : 
 
 d h.it iMMctic.illy the (aitire product for s.wenty years has been sold in the City 
 of I'hil.idelidii.i .uid \iciuity : 
 
 That in this loe.ilitv the deiii.ui.l h.i. been .ilmo.t wholly from the most 
 ex. lu.ixc, rei'med and mn.i>a! eirele., ,nid the immic ip.il oftici.ils with hardly an 
 e xception .nv .ind h,i\e .ilw,i\. been p.itnins of the house. 
 
 It 1. th.avfore prob.ibly true th.it 110 other i.i.ino c.mp.iny in the worl.l that h.is 
 ,itt,iine<l ,in ecin.il .lei^ree of ] . loiii i IK uice .iiid 111, i.L,Mi i t iide e\er h.id its entire product 
 .ib.orb.-d , \, lu.i\ely in the city w henuii it w.is manufactured. 
 
THL 5LN5L OF AB50LUTL PITCH AND 
 THE, SE,N5L OF ABSOLUTE, TONL 
 
 TIIER]-: arc a fc-w people so supiTsi-nsitive to musical pilch that they can tell 
 you at once the exact pitch, accordini^ to the diatonic scale, of any sound 
 they may chance to hear. Thus they will tell you in what key a clock 
 may l)e tickinj^ or a steam whistle sounding and if a piano key is struck in a distant 
 room will nanu' the key without hesitation. 
 
 This faculty is a natural yift and cannot be acquired. It is called the sense of 
 Absolute Pitch. 
 
 The few hypersensitives of this class are well known in musical circles and have 
 been the subject of much scientific debati-. 
 
 There are also a fvw supersensitiws who are shifted in the same manner with a 
 sense of AbsoUite Tone : that is, they know the quality i.A tone as accurately as the 
 other knows the l^tcli of tone. 
 
 These peopU- have not yet been classified and tagged as have the others, but 
 they e.xist nex ertheless and their judgment is just as infallible. They do not think, 
 or guess or conjecture as to the quality of a musical tone — they loiow. Like the 
 other class they don't know ichy they know ; they simply know that they do know 
 and no amount of argument can convince one of them that a tone is less or more or 
 better or worse than it actually is according to his standard. 
 
 (_)f course you will ask what his standard is. 
 
 His stand.u'd is an ideal : he has nothing to compare the quality of a tone with 
 any more than the other has a scale with which to compare the sound he hears 
 before he tells you the pitch. 
 
 It is simply a definite and absolute mental conviction that can be proven to be 
 accurate and infallible in the case of pitch but not in the case of cjuality. 
 
 No tonal supersensitive ever yet heard a tone that entirely satisfied him. Were 
 a tone to be produced that equalled his ideal then dex'elopment would cease for the 
 ultimate would haw been reached. 
 
 Occasional pianos of certain manufacturers have closely approximated the ideal 
 and it is proof positi\-e that such is the c.ise, as well as proof positixe of the infalli- 
 bility of the judgment of the sensitiw, that these gifted people have been unanimous 
 in their judgment as to which these pianos were. 
 
c5omacl^e;t: 
 
 l^ut the cntiiH- ])r<i(lui-t ■>!' in- nianiifacturrr ever approximated the idi-al and it is 
 doubtful il it WW u ill. 
 
 Karh of tin- i^ivat nianufarturciN wh,.^,- pi,^l.i^ ha\r l.rrii c-clchratcd loi-,|ualily 
 was citluT ,1 ^nisitixc hini-clf or had one in his (•nii)loy thoUL,di he iiiiL,dil not ha\ c 
 know n il. 
 
 Jn SOUK- I'.iscs ilic oiii,dnals ha\x- died hut sons have inherited the .yift and 
 (K'\elopnien t has eontinued. 
 
 In other-, the- oriL^inator^ have L^.iue. Their >nc-ee-.sors h.ive l.een men who had 
 no knoul.-d-e ui t,.ne (luality and u ho have wondered why the j.iano. made from 
 the -ame M ales and pattern-, that were re-arded as superior twent\--ti\e years a,<,M) 
 ar.' m-t so rei;, u'ded t.ulay. 1 )c xa h.pnien t eeasi-d in these houses when t he men who 
 /■;/, re tone died or went out. 
 
 i here ai.' hundreds of piano m.iker-. that are neither su] )ersen si t i \ e no|- e\-en 
 s, n-ilixe n,,r ha\.- tli.-\' e\er had anylx-dy eonne. ted with them who was. 
 
 1 he -.une idea has iiccn tersely put into plain laiu,dish a eertain manulaeturer 
 
 " The fust threat re(]uisitt' in makint; a first-class piano is to know what a tirst- 
 
 \\"e ha\e also heard it said that there were not half a dozen i)iano manufacturers 
 in the I'nited .states who kn<-w a ,^o,,d j.iano when they heard it. 
 I his st.itcment may not l.e fully justihed hut it is almost. 
 
 kills will account in many cases for the al)surd claims of certain m.nuifact urers 
 who a.herlise their pian<.s as hein- of the hi,s.,diest -rade. khey km.w that they 
 ha\c ti ici to make their i)ianos i i,L;-ht, ha\c ])aid enough f . a' hoth materials and 
 kihca- to insure the hest possihl,- results .,nd hecuiM' thev haxe ,l,.ne this they think 
 tli. y the hest results: theydon'i L„o:w the\ .iond know that a piano mi-ht 
 
 co-t h)ur times as nmch as the hiudiest pri. ed jikmo in the market and still he 
 medioere from a tonal stand|)oint. 
 
 .Men ha\'e si)ent fortunes in tiA ini;- to make a ])iano that was e<iual or su])erior to 
 the hest in the market an<l faile.l h.'cause at no sta-e of construction did they know 
 whether lh<- i)iano was ri-Iit. I hey .lidn't even know they had tailed until some- 
 hodN- else t-ld them W ho ,//,/ know. 
 
 ,\ h \\ m.iniil.o lurei- know that th<-\- don't know. d hey ai'e on comi)arati\ady 
 -ale LM-inid l!ie\- -eel. , , i re 1 1 1 II y the -pillions ,,f e.\i)erts or sensitives and are 
 
 i^Miided hy them. 
 
 20 
 
€H ^c5omacfte;ir 
 
 The man to be dreaded is the one who tliinks he knows, when he does not. He 
 does much chunaj^e because he appears honest and in fact is honest and honesty 
 always inspires a certain amount of confidence. 
 
 But the worst is he who knows nothing, knows that he knows nothinj^, believes 
 that nobody else knows anything, cares for nothing, therefore claims everything 
 because he thinks that all claims for superiority are merely a pretext to get a better 
 price and, as he is in the business merely for what he can get out of it, his policy is 
 simply to build for the least possible amount and sell for the highest possible price. 
 
 And it is astonishing how many dupes this class of confidence men find. 
 
 Connected with the Schomacker Company is one of the most supersensitive 
 tone critics in this country. Working under his direction are the most expert 
 artisans and mechanics ol>tainable, who are constantly striving for better results and 
 constantly imi)ro\ ing methods already approved. Every little while one of these 
 miners-of-ideas l)rings to light a nugget and, when he does, the expert is there who 
 knows — absolutely ktuncs whi-ther it is precious metal or whether it is simply 
 " fool's gold " - as the California miners used to term the delusive base metal resem- 
 bling gold w hich ignorant prospectors found and in search of which many arduous 
 journeys wen- taken and many lives lost. 
 
 There is "fool's gold" — plenty of it among the much-heralded piano ideas and 
 both fortunes and reputations have been sunk in the development of it. 
 
 The Schomacker tone is not satisfactory to us and ne\ er will be, probably : 
 
 But the intuitive knowledge by which we determine that the tone is not perfect 
 tells us also: 
 
 That the Schomacker tone is one of the most extraordinary that was ever 
 developed in any piano. 
 
 ART PIANOS — 5PLCIAL DL5IGN5 
 
 IN either of the Louis Periods or in conformity with the requirements of any 
 specific style of architecture will be made to order and specifications, color 
 drawings and estimates furnished upon application. 
 These instruments will be constructed of any desired wood, enriched with 
 carvings, ormolu, or i)aintings by artists of ability ; and, if desired, by those of 
 national or international reputation. 
 
 21 
 
NOTABl L AWARD-S AND HONORS 
 
 Till-: S, h.. marker Tiaiics have \,rcn rxhibitrd at 
 all of the- iM-iiu ipal n:ii)rtiti\c cxhihitions in 
 Anu-rie.i siiux- 1N45, and have nrvcr yrt failed 
 t(, rc,-,-i\r the hi-hcst i.MssihK- award. 
 
 rill. 1 kANKI.lN INSTrri TK, 1S45 
 \hd,il "IW-t ri.iiio" — .iiic ..f the r.niiest awards 
 
 AMi-.KU AN ixsrrn Ti;, ma\ ^(lKK, is4s 
 
 .inKcl I irst Tri/.-, .1 SiUrr Medal, in c .iniictitiMri with the 
 
 MAkN l.AM) IXSTrn'TE, l^ALTIMORK, 1S48 
 
 A.n-.lr,] I ir-t I'ri/r, ., Silver Mrd.il, at lii.' tirvt rxhil. 
 
 kVSTAl. I'Al.Ai'K INTKKNATIOXAL 
 
 KXIIIIM TK »\, IS5,^ 
 ,t (h.M Mrdal tlir IiI'Jk'M auanl.d Aiiu-rir 
 
 I N I I NNI \1, 1X11 U\. M M i\ \i. i:\iiird i i 
 
 \1 I'hila.l.'ll.liia. l..-|ou.,l 111, tirjii.-l iH^n-r^ r\r 
 
C0e P>c5omac^e;c 
 
5CHOMACKLR PATRONS 
 
 AC(_)\S1'I( L ( )L s tcitii 
 <MU- u lii. li h.is rliril.- 
 
 (■ (it the Sch( iiii.ickcr catalogue for many years, and 
 1 nnicli ciiiiiniciit in imisical and social circles, has been 
 llic \iTy cxlciKlcd loxcrini^ m'\ cnly-rixe or more pages and containing 
 necu ly ti-ii tlKm^aml 11,11110 ..f Si In .niackr r i),itr(ins, in Philadelphia and elsewhere, 
 who are i<v weir pn iiuiiiciu in MKial, pulitical or official life. Space compels us to 
 di^cdnliiiiic tl^l^ IniiL; li^t, \n\{ we append a few names taken at random therefrom, 
 whii ii may sfi\c to interest >neh a> are not familiar with the Schomaeker Pianos or 
 Sehom.ieker c lientele. We will also be ple.ised to furnish, upon application, a list 
 of Sehoniacker ])atrons in any desired state or locality. 
 
 . W I 
 
 I'a 
 
 OIIN W. Ckakv 
 
 onN 1\ llAKTKANFT 
 
 A. St( 
 
 lAM 11. Ill NN 
 . \\ . I'l- NNVl'ACKER 
 
 r,,oKh, I'liiLidcipiii,, 
 
 . W . I MKM ^, j'l,il,Mlelpl 
 
 Gen. j. A. lii- \\ 1 k, rmnsx i\ ,ui\.i 
 
 Hon. J. M. 1;K( K, IMiiladelphia 
 
 Hon. Franklin Blades, Illinois 
 Hon. a. M. Bell, Bell Teleplu.ne 
 Jrr)GE F. Amedee Bre(;v, PhilacK-lphia 
 
 ( MAKI KS 11. r. CoLMS, N\w Y, .ik 
 
 II.. 
 
 I. U \ 
 
 I .M. W Miiiisu i- I.. 
 
 II. W" \i I )iie. iM,- 1 . .S. 
 
 . I. ^. W l\M New \ Ml-k 
 
 Hon. H. W . W n 
 Gen. Loris \\ \( 
 Col. Josmi T.. 
 
5CHOMACKLR PATRONS 
 
 H(iN. S. F. A.N( ()N.\, M.C, Pennsylvania 
 
 Hon. J,,mn a. Aiii,, M. C, Pennsylvania 
 
 Hon. Wm. ];. Ada.mson, Pliila.U-lpliia 
 
 Hon-. W. Arc. Atlkk, Lancaster, I'a. 
 
 Col. I. .V.siiWoKTIl, I'liiladelpliia 
 
 Hon. ,\.mos 1',ki(;(;s, I'hihuleli.lna 
 
 Hon. 1). Pkown, M.C., Pennsylvania 
 
 Hon. W m. 1 ). Hoi kck, M.C, California 
 
 Hon. N. p. Pkownf, Pliiladelpliia 
 
 Hon. Hknkv Pr.MM, Philadelpliia 
 
 Hon. p.. H. Prownk, I'liiladelpliia 
 
 Hon. Cii.\s. .S. liKiMM, M.C., Pennsylvania 
 
 Hon. S.v.mtki. W. C.kttki i., I'liiladelpliia 
 
 Hon. Stephen A. C.-u.dwki.i., Philadelphia 
 
 Hon. A. G. Cattkm., M.C, New jersey 
 
 Hon. Ceo. CkumI', liritish Cmsul, Phila. 
 
 Hon. R. W. l)o\VNIN(i, Philadelphia 
 
 Hon. a. K. DuNKEi., Secy. Internal Affairs, Pa. 
 
 Hon. Andrew H. Dill, Pewishury, Pa. 
 
 Hon. H. T. Kstei-.kook, Khnir.i, New York 
 
 Hon. Henkv D. f om i i;. M. ( ,, Penna. 
 
 Hon. R. M. Pol.st, Pliil,,drlpl,i,i 
 
 Hon. JO.SEPH K. C.ii i in(,iiam, Philadelphia 
 
 Hon. James GILK^ -.ON, | ), i\ ir-t, lu n, P.i. 
 
 Hon. Lewls Gkat/. Phil, Kiel,, hi, i 
 
 CoL. Samuel (rool iM AN, Phil,idel]ihia 
 
 Hon. Thomas S. Hakklson, Philadelphia 
 
 Hon. p. M. llrrciiiN.soN, Chi(a-t., 111. 
 
 Hon. David Hcstlttlk, Pittshurs, Pa. 
 
 Hon. a. p. Hamilton, Wisconsin 
 
 Hon. (;eo. S. HooKE^, C.e.iruia 
 
 Hon. I. I-:. Heistkk, .M.C, Pennsylvania 
 
 Hon. Wm. V. Hai;i;it\ , Penns\lvania 
 
 Hon. M. C. Hkkman, ( .ull'-lr, p.,. 
 
 Hon. W. P,. Han.na, Phil.idelphi.i 
 
 Gen. Herman Hai i t, Philadelphia 
 
 Gen. H. G. Hl-IDLKOLLR, I'hil.Klelphia 
 
 Hon. Daniel K. 1s/ard, New jersev 
 Hon. Horatio Gates Jones, Philadelphia 
 
 Hon. James N. Kerns, Philadelphia 
 Hon. Edward C. Knight, Pliiladeli)hia 
 Hon. Christian Kneass, Philadelphia 
 Hon. p. R. Kelllk. Pennsvlvania 
 Hon. W m. II. Klml.ll, Phil.ldelphi.i 
 Col. loiiN KENNi-.T-r, Cincinnati 
 IdoN. James Lvnd, Philadelphia 
 Hon. J. P,. Lippincott, Philadelpliia 
 Hon. James Leslie, Philadelphia 
 Hon. Kllis Lewis, Pennsylvania 
 Hon. W. |. Ledlc, Cinnmissiiincr, Washington 
 Hon. Stanley Little, 'D.wanda, Pa. 
 Hon. H. .\. Mt iiLLNP.EKo, M.C, Penna. 
 Hon. T. IL M< Cm i i m, Philadelphia 
 Judge J. P.. Mi I'm k .on, Philadelphia 
 Hon. David .Ml.mma, 1 'ennsylvania 
 Hon. H. S. M( Comh, Wilmington, Del. 
 Hon. Rop.eut Ma( key, Pennsylvania 
 Hon. Wm. McCandless, Pennsylvania 
 Hon. Wm. B. Moorehead, Philadelphia 
 Hon. Wm. H. McFadden, Philadelphia 
 Hon. Isaac McHose, Reading, Pa. 
 Hon. Edward Murphy, Troy, New York 
 Hon. Jacob Moore, Georgetown, Del. 
 Hon. Robert McWade, Philadelphia 
 Hon. William ]^. Mann, Philadelphia 
 Hon. Henry D. Moore, Phil.idelphia 
 
 (iEN. M. MoNTCioMEKV, Lin(nln, Neb. 
 
 Capt. D. a. .M( Donald, L.h msse. Wis. 
 Call N. 11. Maxson, f rederi, , Del. 
 Proi-. S. .M.M Mii soN, P.r.mthinl, ( )nt.irio. 
 Hon. Roplkt Pattlkson, Philadelphi.l 
 Hon. Tllos. P. StoTI.sim KY, Philadelphi.l 
 
 Ho\. W\i. M, Si\(,i- ki \ , Pliil.i.K lphi.i 
 
 Hon. I, I.IM, \K Tlh>Ms,,N, Phil.ldelphi.i 
 
 Hon. W AsiiiNi, ion Townslnd, M.C., Penna. 
 Hon. Ioiin p. \ lkkll, M.C, Pennsylvania 
 Hon. J. I,owiiER Welsh, Philadelphia 
 Gen. W. Wayne, Pennsvlvania 
 
THL PATENT ELECTRO -GOLD STRINGS 
 
 CRllICAI, iiiuMcianN M-irnlist^, tniu-rxpcrl^ aiul ..f nui^ic ^^riu-rally 
 
 will \n- intcn-stcd ill ^tLl<lyi^^^ tlu- clTi'i t ( .Ijlai ijcd in tlic ScIk miackcr Piano 
 l)y ])laliii,L; the strin^^s heavily with ]>v\rc j^ohl. 
 ])iiiini,'- ,1 ^^ ^i^■^ of exhaustive experiments made w itii a \ ie\v df proteclin.LC the 
 wire with nickel, siUcr, copper and other metals to prevent rust, oxidization and 
 deti rioration, it was discoxcred that a hea\-y plating (not a wash) of pure gold 
 f,M\i- not only the nio-^t ])ositi\e jireserx-ative results, and added very materially to 
 the ai)i)c-,iran( I- of the instrument, but developed an entirely new tonal effect of 
 sinL,Milar purity and l)t-auty. This effect, though oljtained at a greatly increased 
 cost, it was decidi-d to i)er])etuate in the Schomackt-r Piano and the present method 
 of construction is the result. 
 
 It is generalK- (..needed that the Schomacker Piano has deN'eloped a new 
 toue-st.indard, of ,in ultra-artistic ciiaracter, which cannot he produced by the 
 ordinary methods of pi.iiio building and the t-xplanation .if which must be sought 
 for in its characteristic . . mst rue t i. m. 
 
 1 hat the sharp, pen.'! lat ing .|ualityof a steel string \ibrating at high tension 
 has b.-. n <iualitle.I, nUKlifi.-.l an.l lua.l.- m.-re nuisical b\- the applic ation ..f the gold, 
 there is littl.' d..ubt: an.l til.' lu-.uliar, indescribabl.' charm ..f tli.- .Scii..macker 
 tone must be .iltributai il.-, in s.nn,- degri-e at Ic-ast, to this pri>cess. 
 
 THL FIRST "GOLD-STRING" PIANO-FORTL 
 
 e\<r maiuifaclure.l was .-.xiiibite.l by the S. homack«-r Piau. 1' ort<- Manufacturing 
 C..mpany, in 1n7'., ,it the Phila.leli)hia International I'.xhibiti. ai. Its superiority 
 was nnix. rsally a.imitle.l. X.. plan., atlra. te.l s,,. h a.lmuation an.l attention, antl 
 th.- S. li..ma.k.-r ]'iau..-lM.rl.- .M a n u I a. t u ri n g (onipanN' was awar.led the highest 
 pr.-uumu. 
 
 ADVANTAC.LS Ol LLLCTRO-GOLD STRINGS 
 
 It is impossible to . i\-erestimate the advantages deri\-ed from the use of these 
 strings. In the fust pla. c, the a.lditioual s..nority imparted t.. the steel-wrappetl 
 w ires b\ the ])rei i.ius nu tal produces a nmre sympathetic, retuu-d an.l ])nrer (juality 
 of t..ne, s,, mn. h desia-,1 in the PiaiD-f-orte. 'Phis is a (U'monstrated fact, beyond 
 26 
 
P'C^omacfte;!- 
 
 the power of contradiction. The ortiinary iron-wrapped, or so-called white metal 
 plated strings, which all other m.ikers are still compelled to ust-, art- imniediatt-ly 
 affected by atmospheric action, .i^Madually (K-stroyin.L; the power and \ italit\- of the 
 strings to prolong and sustain the tont-, rt-ncU-rini^ them liahle to t'asily snap or 
 break. To remedy this, and to improxe the- cjuality of lone, haw been the oljjects 
 of manufacturers, musicians and inventors for the ])ast forty years, and only 
 successfully accomplished by the discovery and use of the l^k-ctro-Gold Strings, 
 which are proof against rust, and which 
 
 PRODUCE A SUPERIOR QUALITY OF TONE, 
 
 thus making the Schomacker tjoUl-.String Piano-Forte absolutely the most durable, 
 beautiful and unifjue piano ever manufactured. 
 
 THE U5E OF GOLD INSTEAD OF IRON 5TRING5 
 
 was suggested as long ago as iN.Sf), by l->esseker, an English Piano- F"orte maker, as 
 a remedy for the constant annoyance to manufacturers and performers caused by 
 the liability of iron (or so-called steel) wires to rust and break in moist, hot, or 
 changeable climates like Lngland and the United .States. 
 
 THE OBJECTS OF BE55EKER'5 CLAIM. 
 
 as stated by himself, in the files of the l^ritish Patent Ofifice, bS56, were to render 
 the tone or sound of any string or wire used for musical purposes, of a \ ery superior 
 quality ; to increase their durability as regards wear and atmospheric effects, antl at 
 the same time imjjart elegance of appearance. 
 
 Besseker, howexer, had no knowledge of the Pdectro-Gold Process, not then 
 discovered, as Napier, the best authority upon such subjects, says in the third 
 edition of his work, publishetl in (dasgow, 1N.S7 (one y^-ar after Besseker's appli- 
 cation), in alluding to the cK-posits of alloys: 
 
 "The means to regulate the i)roi)ortion of each metal and to make such 
 a process practical have .177 1o be discovcrci ." 
 
 It was not until ls7Ci— twenty y^-.n-s later— that Col. II. W. Cray, then President 
 of the Schomacker Piano-h'orte Maiuifacturing Company, <li-co\ ere<l its adaptaliiiity 
 to the manufacture- of jiiano strings. 
 
€0e P>c^omacfte;c 
 
 THE. SIGNIFICANCE OF THL SCHOMACKLR LQUILIBRE, 5Y5TLM 
 OF RL50NANT 5TLLL CONSTRUCTION 
 
 T 
 
 HK cuts hriruitli show arc-iiratrK' the 
 honi.ukcT and otluT piaiKis. 
 ^ illustration shows the back of a 
 s subsla 
 
 ordinary typ( 
 
 ally the 
 
 ■ between the construction of 
 
 made and welbknown i)iano of the 
 luiulreds of other^ ; indeed, there 
 
 oth.' 
 
 of 
 
 PLATr. A -USUAL CONSTRUCTION 
 
 ilts obtaiiu'd by that method ; am 
 •d, en(hM^ement o| manubicturei's 
 
 con.truclion used today I)y 
 the m.MUifactnrers of either 
 hi,i,di - -rade or low - .tirade 
 pianos, and the wonder is 
 that in all these years of de- 
 velopment the former ha\-e 
 been content to continue 
 with the bitter in a rut which 
 each has helped to cut so 
 deep that it is difficult to 
 get out of even if one were 
 so disposed. 
 
 We are saying nothing 
 against this method or those 
 who employ it. There have 
 been too many excellent 
 pianos made on those lines 
 to admit of any doubt as to 
 1 it has had the iiracticd, if not the 
 whose judgment and skill are both 
 
 lUit : 
 it (h. 
 
 11. )w that b. 
 that becau 
 
 .■thod was good the 
 ■asier to drift with t 
 
 is not a better 
 tide an<l mal- 
 
 assum.- that bee, 
 m(,del they will 
 
 ontinue to do 
 
II 
 
 II 
 
 The principal reason why other manufacture 
 because they have nearly all tried to make thi 
 to make theirs as nearly as possible like sonn 
 "leaders" all use one method of construction, 
 to imitate ANY other piano ; 
 
 In the pursuit of that iiU'a 
 maker, however yood, we coi 
 that method than he had 
 
 . have all folio 
 
 of the 
 
 idc 
 
 But the Schomackrr 
 "leader" itself, and its objective' i: 
 soned that if we followed the meth' 
 reasonably hope to make a pi.nm ; 
 
 )tlicr piano — 
 and those 
 ■ IS not trying 
 is an IDEAL, 
 if another 
 l)etter by 
 
 iiiv,,l\ino- a PLATL B— SCHOMACKLR CONSTRICTION 
 
 large expenditure, there was cx-oK-cd a lu'w method of construction whose 
 tific accuracy has been di-monstrated and whose practical wilue is proNrn 1 
 tonal results as ha\'i- astonished all who are familiar with tlnMii. The 
 evidence of our departure fr(im tin- old form of construction is shown by re 
 to Plate B; this shows the .ScIk .ni.icker l^iuilibre System of Resonant Stei 
 struction. The central forked truss is made of refined steel and takes tb,e ] 
 the wooden posts shown in Plate A. This steel fork is braced at the four 
 of L,Meatest resistance against a continuous rim of l)ent wood, which i^ coi 
 of eight thicknesses of wood, each one-quarter of an inch thick, and al 
 29 
 
 )V such 
 visible 
 
 iposed 
 glued 
 
tot^cthcr Into one solid, resonant, sonorous mass, forniinj^ a complete circuit with 
 the piu-hli )ck, which transmits tone ,!s continuously as coi)])t'r wire transmits 
 elr.-lnrity. 
 
 1 hr c,,n,lucti\ ity of c ircular forms f,,r \n>ih rlrclric and Inn.- waves ha> Inen 
 fulK- (h-mcMiMrate.l. 
 
 < lix 1 11 a rirrnlar medium, madi- resonant liy the union of L,due and wood, cc m\ ey 
 tlica. to a nni-ie,,l t,,nr. and it will he ma,L,niihed and will eontinur its \ il, rations .aid 
 sounil a lorn; lime, dyini; aw.iy li\ d.a4l■^^•^ — a "-int^int;" torn- th.it .Ljrow s K-ss ;md 
 
 Ir.msmit the same tone lo ,i Mjuarc hody made up of slraiyht i)irces of wood 
 lik.- Ihr fram.- and po.t shown in Plate A, and th.' vihralion will stop .jiort when it 
 reaches the lir-t ( f the m.my joints in the frame. 
 
 An clc-ciric current w ill trax el indefmitely around a circuit, hut stojjs short at the 
 end of a str.iiL;ht mrdium and shows a marked .i\ersiou to acute angles or sharp 
 cornea-. All this is ( (lually true of musical tones. 
 
 d he tone impuls, s .irr c.in.-yrd to tli<- t'ontinuous hcnt lim not only liy the 
 s()undinL;d)oard. Iml k\ thr . ouipo-ite metal plate which su->tains the strim^s and 
 1)\- the pind)lo, i. to wh.is,- pm- the strini^s aic attached ami li\- the treble resonator, 
 whi( h recei\i-s the v ihiMtiou of the jilate direct, magnifies it and them cmueys it to 
 the rim, wlia h impart-- re-^onance. 
 
 We could till thi-- entire catalo.^ue with scientihc facts and theoretical and 
 arL,Mim(aitati\ <■ dat.i to ])rove the aea uracy of our deductions, hut all this would not 
 he half so convincing- M<'r so cncluMve a. K l-:.Sl-LT.S. 
 
 dh.' tone of the .Schomacker I'lauo- uidike any other ~ he.mtiful beyond com- 
 parison—furnishes melodious proof of the corivctnc'ss of a theory which has had 
 th<' emha-sement of seieiiti^s who-e , Mimat<- i> based up..n theor^■tical deductions, 
 as well as practical manutacturer-- who d,, uot he^ital.' lo .ulmit that tlKU'e is ,i tone 
 (piaiity in the .S, jiomae keu' w h i. h cannot be accounted for by any results hitherto 
 obtained Ivtnn pre\ iuus methuiU. 
 
 30 
 
This picture, taken before 
 the strings are attached to the 
 metal plate, shows the diverg- 
 ing steel forks, crossbrace and 
 truss on the back, which con- 
 stitute the Equilibre System of 
 Resonant Steel C(jnstruction. 
 
 The case and frame are 
 rigidly l)raccd at every point 
 of strain or tension and are 
 immovable, thus holding per- 
 manently th<- arch of the sound- 
 ing-board, whereas wooden 
 backs swell and shrink with at- 
 mospheric changes and permit 
 the sounding-board to flatten, 
 which destroys the resonance 
 of the tone, and produces the 
 sharp, tinny quality so exas- 
 perating to sensitive ears. 
 
 The first Schomacker pianos 
 constructed with the steel backs 
 retain their full resonance, 
 rotundity and musical quality 
 of tone today. 
 
 The E(iuilibre .System of 
 Construction has now been in 
 practical use for more than 
 twelve years, during which 
 time its durability, accuracy 
 and artistic (luality ha\-e been 
 fully pr()\-ed by results, so that 
 it can no longer be regarded as 
 being in any sense an experi- 
 mental method. 
 
 PLATE C 
 
 SCHOMACKLR GRAND CONSTRUCTION 
 
UPRIGHT PIANO. 5TYLL 1 1 
 
 Hl.K.lir, I.. Ill- Irct Iniir inches; width, five frrt thrcr inches; dc-pth,, two 
 l.ct three inches. 
 
 WeiKdit, .ilioul ^ix hun(hv,l and sixty-^ix pounds; l.oxed, alxnit nine 
 hundred and sixteen ponn.N. 
 
 Seven and <.iie-thir<l n,t,i\.-. l ineM i\,„y keys with eljony sharps. \'ery 
 e'.a-lic ,;iid ii-p.:i:M\e touch. l.xtK UieU seusitixi' and synii)athetic action, with 
 
 Idne .MalK.u.my cms, 1 ,e,ai i i I u 1 !>• hnishe.l in l.cth l.ri-lit p.-hsh an. I <hill, art 
 finisli. I'atent eh ct r. ''1' I -HiuL,-. 
 
 I'ateiit i:(iuililire .^\steni cl Kesdiianl ."--teel C '( mst rnct i( >n and continuous, ln-nt 
 rini. yrand ])i,ino Iranie. 
 
 1 luh-pench'ut trt-l)le resonator; tone-sustaining pedal; arched, violin-niodel 
 soundini,rd)oar(L 
 
 An ultiM-artistic tonal achievement that will appeal most forcil)l\- to authoritative 
 music, il critics and to])eo]ile L^ent-rally of artistic temper, uiient and retined musical 
 taste. 
 
 1 hose nio.i ,,Mi)pet.-nt to ju(l--e will ,it once note the peculi.ir suioothm-ss, 
 rotundit\ and .-x. cedin-ly nu lodiiius (lu.ility of lone ,ind will he surjirist'd .at the 
 \ olumc' ,,l,t,iin,il)le when the <limensi, ,ns of the instrument .are consi<l,-ri-(l. d hese 
 ton.il , h.ir.icteristics .nv Ljener.illy considered to result fn.m the elect ro - t^old 
 modihc.ition of met.illic ton.il shrilhu-s on the one h.uid .uid from the ma.i,niifying 
 effect of the lienl rim .and steel construction on the other. 
 
 32 
 
UPRIGHT PIANO, STYLE 11 
 
UPRIGHT PIANO, 5TYLL 12 
 
 HI.KiH 1, four feet seven inclu's; width, i\\-c feet three inches; depth, two feet 
 
 Weight, alMuit MX hundred and eiL,dity-s<-ven i.ciunds; l)().\ed, al)()ut nine 
 hun.hvd an<l thirt\-M \ m p.-uuds. 
 
 Se\eu and ..lU'-third ,.( la\es. idnrst ivory ke\ s willi chony ^harI)s. 
 
 \'ery i-lastie and responsixe {<H\ch. l^xtreniely s^■n^itive ,md s\-ni]).itlietie action, 
 with exceptionally rapid rc])eatini: capacity. 
 
 Selected Maho-any cases .,f heautiful t^rain in hoth hrii^ht jiolish and dull, art 
 finish. 
 
 Patent ICtiuilihre System of Kesonant Steel Construction and continuous, bent 
 rim, ^M'and piano frame. I'atent electro-^'-old slriuLjs of unusual lent^th and sonority. 
 
 In(le])en(lent trehle resonator; tone-sustaining; pedal; .arched, violin-model 
 soundiiiL^-l)! >ard. 
 
 The s.ime ultr.i-.trtistic ton.il ch.uMcler ,is tin- Style 11. with ad<K-d power and 
 resonant e. .\n cxlra. .rdinai y . xample of latent power ,uid res.-rve force, combined 
 with .ippe.iliuL;- ilrlici, \' and syuip, allelic (iualil\'. 
 
 This ])i,iuo is ,,f |.iecisely the s.une dimensions .1. the St> le 1 1, excejit in hei,t;ht. 
 The additiciii.il heiL;lit of tiiree in* lies .Ljives a corresp, .ndiui.; a.ldith.ii to the leni^th 
 of the sirinus, an.l tli.- lon-er the strin-s the -reatcr the ]...wer ,m<l toual di-pth. 
 
 There ,nv ^. irnlilic lacts iu the held of .icuisti.-s ih.il .iccount re.adily f.a- the 
 exti-aordinary ]iiiiit\- of i,,ne resulliiiL; from ni.it hem, it ical .iccuiMcy in len--th of 
 strin- l.etuc-en the l.n<ke ;ui(l the ;i-r,ilTe, or pressure h.ir, when dr.iwu to ,i rel;iti\ely 
 .iccur.ite tension, ,il)out w hich the .i\cr,is^'-e m.muf.icturer or " .issemhler " of i)iano 
 p.nls knows little oi' nothini:.. 
 
 1 his (leiiioiistr.ihle s, ientitic .accuracy in the .Schomacki-r scales .and system, 
 comliincd with the effe( I of tin- L^old deposit on the steel strings, accounts largely 
 for the unp.ir.alleled j.urity of the tone. 
 
 34 
 
H 
 
 UPRIGHT PIANO, 5TYLL 14 
 
 Kilir, r.Mir fcrt ten inrhcs; width, fivr fret thvcv inchrs ; (Iri)th, two feet 
 
 W.'i-lil, ,il..)iit M-vcii luuuirr.l and s.-v.-nty-f<>ur umd^ ; hoxrd, alx.ut 
 ten hundivd and tu.-nty-lonr |H.nnd~. 
 
 Srvrn and .-nr-lhird .k la\a-. I'inc-.t ixory l.ry. an.l rl..,ny .harp^. 
 d lie same pliant, i-c^jx msixa' liaicli that i liarai trri/c-. .ill Si in miackiT pianos, 
 l''.\lrtMii(dy scnsiti\T and ^\ niiiallutic- .utioii, witli cxicpti" inall\- rapid rrprating 
 raparily. 
 
 Srl.-. t,-,| ,Mali.,>;aii\ , a-r. m| , ■ xcrp t k HI a 1 U" a 1 1 imc t i \ . • r,,l,,ran<l -rain, rnrichc-d 
 with inlaid linr. ,,| -,,linv\.M.d and taM.dnl cvx in-., aflMrdin- r, „, t rast i n lt rrlirf from 
 thr pl.nn MNla. xri n-l ..\.a-.-lalH.ratc-d. 
 
 ScdKinia.k.a I'atrnt I.Mmliliiv S\-lrni -I Rcm, nanl St.-.'l C .nM rn>i 1..,, and 
 l)uill-np i.rnt nni, pu'> a-rK i1m- .anu- a. a L^rand piano. 
 
 I'.itriU clc, lr.>-.-..ld strniL:. ..| Mill .^rr.itrr l<-n-th tlian rithrr..f the i.rrrrcling 
 styii-., w ith rorrcspondin- inc reaped > a])ai il\- for jjowaa' .and cK-jith, whirh may be 
 in\a.la-d ,it will. 
 
 Indrpcndcnl IrcMc- ic.on.n, ir ; 1( m. -Mi-^t.iinin- pcd.al ; .irrhrd, \ iolin-niodel 
 soundin-dx.anl. 
 
 d his pi.nio is an .ai 1 1 rcl y d i iT.av n t mmI,- from cilhrr of the . .thca's, w ith it- ow n 
 ton.il rli,n-a, LarMi.- ,,nd th- in. ro.iM-<l xolimu- ol .t.ai n.il )lc .at will ..n a. .-.anit ..f ^i/r, 
 yet h,i\ Iiil;, and. r .Moin.ir\' toil, h, .ill .,f the refined, sinoani^ (pi.ililv w idi. .nl u hieli 
 leL^.ito rflc. Is ,irc mipiissililc, ,uid whieli hrlrays [hv p.iranionnt .naisiie (pailitii-s oi 
 t..ned)uildniL;- uiiieh li.ave eliar.u leri/ed thr .Scdiom.ieker ])ianos in thoir x.naons sta.ges 
 of de\a-lopmrnl f. a" -ex . ai t y \ .a; rs, ,i nd cspcei.illy dnrint: the l.itia- period dating 
 from the inwaitions tli.it have made tids piano famous. 
 
 36 
 
THE, 5CHOMACKFR ANGLLOPIAN PLAYLR-PIANO 
 
 H!:i(.lll, l-iM trrt M xrn inrli.'.; width, five fc-L-t three inclu'. ; depth, two 
 
 W ri-hl, .iImuU ri-ht hiiii.hvd ,m<i ninety-five i)oun(ls ; hoxed, about 
 eleViMi hundivd ,nid |..rtN-li\,- pM,,,,.!.. 
 
 ScN'en and liiic-lhiid lH■ta\(■^: tim-^t ke\--^ witii rlxmy >harps, 
 
 cla-.li.- .nid |-r^pMnM\c Puudi. lv\liTnirl\- ^ensiti\e and -^ynipat hct i.^ action, 
 wUii ].|-artieallv Iniiitl.'s. r. -pet i t i. ,n eapaeity. 
 
 Selerird .Maii..^,iny (Mm-. . .1 exceptionally l.rautiful -rain, in l.ntli i,riL,dit polish 
 and (hill, art finish. 
 
 I'atenl laiuilihrr .'^ysleni of Resonant .Steel Construction and continuous bent 
 rim, L,n"and piann iianie. 
 
 ddiis (MM- is separable, s, . that it may be dix ided with beydx.ard and action on 
 on<- hall and sled back, plate, and s, ,nn< 1 i n-d >, ,,n-< 1 ccm posi n - t he , u her halt, thus 
 enabliuL,'" delix ery up n.ii rdw spuis ,and in cr.miped quarters, w iiere it otherwise 
 eouhl mil be.lelivered at ,ill, .irw.uild h,i\ c p.be subjected p. the risk of hauling 
 ui), by n.pcs .md pullevs, p, ,,utside wimhuvs. 
 
 Ind, pendent treble resnn.aPu- ; arched, xiolm-mo.Ud s, ,undin,L,-b. ..u.k 
 
 1 his insirum.-nl pla\s with both NX-note and ^5-n,,le music rolls. ]{ h.is ,ill of 
 the p.ileiPe.l .uid exclusive devices which < 1 1 st i n >;u is h the .\n-.-lus ,m.l cm be used 
 m no ..Iher plaser. These ,u-e tlu' almost human /'///v.v/;/- /.err/', the won.lerful 
 .l/e/e, /,////, llie .I/cA',/r /.'///Av/s, the Di.ihlini-i), r>n-/i n,.//i,s ,md the Ih/f'/rA S/^oo/s. 
 
 ( )ne of the kuL^-est pi. mo 111 , m u fa." t u re rs in the I'liited .Mates, w ho confessed that 
 his ,,wii .iltcaiip; to pro.luce ,i s.n isf.ieP ,r\- player-piaiio h.id been a t.ulure, s,ud, after 
 trxiii- a .Schoniacker ].i,mo; ' ' I u co,-] x.r. 1 1 e a pla\-er with that pi.iiio ,md you will 
 lia\e .111 iiistrmuent that will compel the attention of ihe entire musical wurld!"' 
 
 lb- knew Iroiii dcMi- expeiieiue ill, it U<A c\cr\ t^ood pi, mo Ul.ide .1 yood pkiyer- 
 piaiio ; that in order to obl.iiii llie best results ,i i ertaiii (|u.ilil\- was reipiisite, which 
 
 was two \-e,irs belore we m.ide the ex])erimenl. 
 
 lielievin^, ,is we did, that m. pi. mo in ihe work! w.is belter ,i<kipP-d to the 
 pkiy,-r than ihe Schoiiiack.'r, we lell tli.it the best pk.ver in the work! w.is none p.r. 
 -ood. Iherelore, we ,irr,m-ed lor the iiileri..r iiiecli.mism ,,1 the .Xn-elus-lhe 
 38 
 
SCHOMACKER AXGflLOPlAX 
 Witli panels "pen, for automatic playing 
 
first — thi- oriLciii.il ,in<l, all ikKIs, thr most artistic ])la\'cr in the world — ami tin- 
 result is ihc .\.\(.i;i.( )1'IAN. 
 
 W e do iHit apin-ovc tlic I m 1 i m ri m i 1 1 a t c um- of -uprilativrs in thr <U--rrii)tion of 
 pianos — a prac lire to w liic h the cnlirr jiiano fralrniity is too miu'li addirtcd, ami 
 wiii.li no .ompoiH-nt part thcn-of has so mil .lnsliiiiL,dy used as the makers of the 
 m.-l wortlil.-.s pianos. 
 
 r.iit it ^onietime-s (litTK uh to contemplate -^uriirisinuly superlatixn- results without 
 indukin.i;- in su])erlati\e expre..ioiis, wlii. h uouM lie fully juMitied in this case. 
 
 \\\- may say. however, thai the predicti<in of the manufacturer referred to was 
 verified au<l his judgment \indicated. 
 
 Almost e\ery recinisite to an ide.il player-i)i,inu is here realized: 
 
 The --mooth, susl.iined, sim^ini; tones of the Angelopian are in i)K-asinsr contrast 
 to the shoit, "tul)l>y," unsym])athetic (piality of most player-i)ianos a ciuality 
 often developed, , ,r , h' ce n I u a 1 < (I , l.y the player mechaiiism stroke, even when it 
 is hardly discernil,!.- in the same piano if pkiyed l.y hand. 
 
 I he al.solnte control of expression hy means <.f the " I'hrasin- Lever"— which 
 is .il.tainakle in no iila\er e\(ci)t the An-clus, .and which is almost ,is sensitive 
 ,is tlu- human nerxa-s .md cnxcys the imi)ulse of the hrain l.y me.ms of the fini^er 
 tiijs with the r,ipidil\'of thoiiiiht renioxes the .Xnijelus pl.iyer alont- enl irely out 
 of the realm of iustrimients ih.it j.roduce "mechanic.il music." 
 
 i he onlinary ].i,mo i. estimat.-d P. a\era.L(e .il.out one hour's use i)er d.iy, while 
 the |)layer-pi.mo is snl.|ected to //,-■(' houis' se\cre i.layini,^ — ,md\\e mii^ht /'/iiiisli- 
 nimt — in some cases, 'l iie j.ec ular construction of the .S(dv.macker enal.les \i to 
 vl.md this strain Letter than any other .and t he dural .i li t y . .f the Ani,^elus .acti(.n has 
 keen demonstrated as h.as none of its imitators; for crc/)' ot Ina' player is only an 
 imitation uK.re or less kuthful of the Am^elus. 
 
 We know ..f no technical, mech.micil ,.r<.ther de\ ice <,r adv.mta^a- claimed for 
 other pl,a\-ei-pianos ih.ii is imt present in the AuLjelopi.m. hut there are \-er\- many 
 oriL;inal and e.\clusi\c fe.itures, l.dth mechanic.il and ton.il, that are found in the 
 AnL^elopian. I.ul in no other similar instrument. 
 
 Ihe Anu('l"l'i''ii cont.iins the at;- reL;-,ile and ca.mkined merit, strent^lh and 
 presti-e <.l the An-.-lii-^ the acknou U'd-ed .irtislic le.ider <.f its .k.ss .,s well ,as the 
 ,iri-inalor .iml o| the .Sehomacker I'i.iiio, \vh,.se ext r.n .rdinar\- tone has c entered 
 the attention of the music, il woihl ol kale .ind whose triumphs anted, ite in priority 
 ,md o\ eish,id( iw in im]iorl,mce iIk.s,- ,,f .niy <.ther ])i,mo. except the two which were 
 its only not.ikle conttmi])or, tries sexenty years a,L,Mi, 
 41) 
 
s( : H () M At: K I-: i-: a \ ( ; ic L( )p i yv n 
 
 With panels closed, f,.r manual playii 
 
GRAND PIANO, 5TYLL A 
 
 L1':.\GTII, five fiH-t l\v<. inches; width, tuur feet iiiiu- inchrs ; hiMj^ht, three 
 
 W'ci^iit, ahinit six hundred and sixty-five pounds; Ijoxed, about nine 
 hun(h'ed and sixty-tne ])(iun(U. 
 
 Se\-en .and one-tliir<l oetaxes. I'inest ivory keys and ebony sharps. 
 
 I'l 'ss, s^iin^-- .1 tdU' h that is respoiisiw to the utmost degree, with the best and 
 n';ii-t -i ii-,iii\e .irtion, haN-in^^^ an unexiclled c.ipacity for rapid rei:)etition and 
 
 Seh i ted MahoL,Mny cases of marked beauty, with exceedingly graceful lines 
 and a notiieably distinguislu-d appearance generally. 
 
 scliomacker I'.itent I'.ciuilibre System of Resonant Steel Construction with 
 continuous lient rim. Patent eU-ctro-gold strings. 
 
 Independent tri-ble resonator; tone-sustaining pedal; arched, violin-motlel 
 Mumding-l)oar<l. 
 
 This diminuti\c grand piano li.is a marked indix'iduality, strongly in contrast 
 with other grands ,,f >iniilar dimensions, because of the extr.iordinary depth and 
 nuisical (piality of the bass strings when length is considered, miited w ith solidity 
 and jiowt-rof the entire scale such as were never before obtained from an instrument 
 of its si/e. 
 
 At the sanu' time there is an ai)pealing tenderness — a poetic cjuality that betrays 
 the e,\t l aordinary xcrsatility .md the unprecedented range of expression for an 
 iii^trumeiil oj it> I harat lei-. 
 
 .\lx.\c tlie cut on opposite- page is vli,,un a -ingle truss or leg which we will be 
 -lad to snp],ly in place of the one in the larger picture. If this is desired it should 
 be ordi-red as Style A-2. 
 
 42 
 
GRAND PIANO, STYLE A 
 
L' 
 
 GRAND PIANO, 5TYLL B 
 
 l'.N(.riI, H\ fret two iiicln-s; width, four fcrt eleven inches; heij^^ht, three 
 trri ^ix inehe.. 
 
 \\ eii,dit. aWoiit se\-eii hunch-eil and tifty ])oun(ls ; l)o.\eil. ahout ten 
 huiuh'eil ,inil lil'ly pound-. 
 
 Sevn and on, -third ortave.. Idnr^t ivory keys and el>,,ny .harp.. 
 An > \> c-pti,)n.ill\- -ymiiatln-tii- torn h, not too (K-ei), and lij,dit c-nouf.,di to appeal 
 to MK h a- aspire to tc imiral disjil.iy, yet not laekiiiLC in neeessar\- tirnine... An 
 exlremeiy sen.llixe aetion, h.ixin;.,^ an nnexeelled cai^icity for rapid rei)elition and 
 clear c-nnncialion. 
 
 .-^elected .Mahoi^anN' e.,..-. ot , ■ x eep I : o,, all y heautifLil strain, with .yracelul line, 
 an.l c.nxin- o| the j.oni. W period. 
 
 hom.i, ker r.ilent i^iinilikr.- .Sy.teni of Resonant Steel Const met i< m with 
 coiitinnon. kriit rini. I'.ilenl elect I'o--. >ld .trinL;-. 
 
 Indepen.lent trehle re.on.it.M-; tone-Mi.taininii pedal; arche.l, vi. .lin-niodel 
 .oun.hn-d.o.ird. 
 
 I hi. i)iano ha. e\ or l.e,-n known a. th.' " I'.ahy " Lirand in contradistinction 
 to the full co,u-<-rt L,Mand and the s,'nii--rand and will i)rol)al)ly always retain its 
 ori,L,Mnal coyiionien, thonL,di the name has lo.t its early sii,Miiticance since the 
 introduction of the .st>le A uraiid, which is much smaller. 
 
 The .Style ]!, with it. loiiL^er strint^s and mort- comi)relu-n.i\e scale, still 
 remain, an excellent compromi.e instrument for such as would like the full strand, 
 
 l)ul lack i- 11. it h.i. ,1 rounci, deej), i( }mmandin}4- tone when forced ,ind i. (]uite 
 
 ei|ual l>> \\]'- kill ](■( piii iiiienls of heroic nu'asures, yet i. under complete control 
 and \ I. Id. ,, ih h. i I.mI I,,,,.-, full .,f ,-oh.r an.l of poetic .luality, for the expi-essi,,n 
 of rouianlh them.-.. 
 
 I .ikiuL; e\ erythinLC into l oiisiderat ion, thi. instrument ma\' .till In' desii^nated 
 a. the rei)re.enlat i\c i,Mand and the one hest adapted to the reciuireiiients ..f the 
 i.,Meale.t numkei inclndinL^ profcioiial and semi-professional musicians, with 
 whom thi. piano i. in .unvat fax.M". 
 
 Ako\e th.' cut on opiio.ite pa.i4(- is .hown a sint^le truss or lei,^ which we will be 
 !.d.id to supply in place of the oiu- in the lari.^er picture. If this is ilesired it should 
 be ordered ,,. Slvle ]?-_>. 
 
 44 
 
GRAND PIAXO, STYLE B 
 
th P>c0omacfte;t' 
 
 CONCLRT GRAND PIANO. 5TYLL D 
 
 ENGTII, nine t\'ct ; width, five feet two inches; heif^ht, three feet three 
 chev 
 
 Weit^ht, aliiiul eleven hundred and seventy pounds; boxed, about 
 fourteen hun(h'cd and niiifty-t"i\c pounds. 
 
 Seven and one-third oeta\cs. I-'ini'st ivory keys and ebony >harps. 
 An acti<Mi ..f wonderful freed. ini, adapted m the <li>play..f the niw^t hiiidied 
 teehnie, w ith a eapaeit\- f^r repetition that fully meets tin- re(iuirenienls , ,i the 
 niM-t exaeiin.L^ \irlu..s<i. 
 
 Selerted .MalmL^.niy cases of j^reat beauty for the music room ; ebonized cases 
 
 Schoin.icker I'ati-iil f:(iuilil)re System of Resonant Steel ( 'onstruction, with 
 continuous bent i iin. Patent i-h-el ro-t;. ,ld strings. 
 
 Independenl tr.-ble resonator; t.-ne-su^tainin- pedal; arched. \i. .lin-mo<lel 
 sounding-board. 
 
 i'hi^ K-\iathan of the concert ^tai^c- i> ecpial to any re(iui remen ts that can be 
 made ujion it. lia\ int^ a deicree of solidity that cuniot be broken down under the 
 mo^t >e\cre le-t^ and with a idarit\', criNjjue^s and brilliancy which carr\- each 
 note cleaiU- to lii,- furthest confnies of the lari^e^t auditorium, while the thunderous 
 ba.. ^lrin-^ .eem to build a wall of Ion.' like a backL^round for the display of treble 
 c onir.iM-, ,ind the blendins.^, lei,Mto effects of ,i middle ret,dster that ^iiiL^s like the 
 
 It a piauo < ,\ limitless resource^ and, w hen \'oiced down lor use in the music 
 room oi stu<li(., the nehness and <lepth are indescribable. 
 
 The m.Klilyn- inlhu-nc ..I (he -ol,l ^trim^s has enabled us to develop from this 
 hum\ coiucit jiiano a mu^i( -room in-^Irum^•nt that ha> ne\er been e\cn appio.\i- 
 mated for warmth of tone-color, control of reserve [jower and e.\lraorilinar\' beauty. 
 
 46 
 
CONXEKT GRAND PIAXO, STYLE D