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[p. 9] ‘writer’ (in the closing paragraph) refer to James Parton, author of the Atlantic Monthly article, or to the writer of the above Transcript article, or were both one and the same? The ‘Mrs. Samuel Batchelder of Old Cambridge’ was the Mary Montgomery of Mrs. Rowson's Medford school. This Transcript story tallies with others till we read the fourth paragraph, which makes it appear that the piano of Princess Amelia had been ‘organized’ prior to Jonas Chickering's first sight of it, 1817, in New Ipswich. How correct it may be we cannot say. It was written fifty years after Chickering's first sight. No other writer mentions the organizing save the brief mention in the Chickering catalogue of 1902, which assigns a later date than 1817.

Neither Dr. Hale nor Louis Elson, who were speakers at the eightieth anniversary exercises of the Chickering Company, alluded to anything of the kind as existing at that early time. We are inclined to the idea that the ‘look of astonishment and wonder’ attributed to the young apprentice is purely an embellishment by the newspaper writer. As to the next paragraph and Mr. Chickering's advice, we will say this: From several examinations we have made, we conclude that at some time subsequent to its organizing ‘his advice was followed,’ and ‘a larger bellows put in.’ But in so doing the original piano was utterly disorganized. We found a section of the bottom of the original instrument had been cut out to make room into which the ‘larger bellows’ could rise when inflated, and which cut shows the peculiar composition of a thickness of two and a half inches. That action must have ruined the piano as such. Perhaps the strings were then removed, or later when found useless. How long the owners continued to ‘play the organ by itself’ as recommended we cannot say, nor yet whether it was thus usable when exhibited in 1902. It certainly is not at this present writing, as the keys are almost immovable.

Regarding the other piano, said to have been Princess

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