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- HEW YORKERS GET.
'tL-imgside Park ar.d overlooks ai! Harlem at its feet, a 'i-ssraam avenue, building up rapidly with tall tenement 31*31 enter the front deer in a year, probably, after the first XEW-IX)RK DAILY WHBUNE. StTNDAY, JUNE 12, 1910. A.way below a p~ouit shoulder of one s out— Uu most . • ses that have ever been - ■ ! of the • -- rests the - ■ the - the a ■ ■ ■ ■ . • - . - ling it up to last MAW NG LJTTLE GRANITE FLOWERS ON TOP OF THE 30-FOOT COLUMNS. Bes t ie men -scl.r.es s p. aster pattern. SPIRAL STAIR TO THE ROOF. ■c*- have no more permanem y than the ridiculous shift of a man's lifetime. They have dug for the foundation down to the bedrock of th< heights on which the struct ure stands, ami th« y have given it four gTanite bones of such magnificent strength as to be able to bear the thirty-five million ;■ unds of -■:t that will rest upon each of them. No ■ ■ ■ n constructed that has had the : I I m< as !• ng as that which tl gi I reation ma; k for- Everything that • :•. eriei ■ - ■ • ■ ist of th< •■ ■ . ' ■ ise of a every - I re bi . . i the coming . . ■ ...d on Its hi : h. : I . A QUAINT INDORSEMENT J. Pierpont Morgan, at a recent diocesan cim vention in New York, amused a group of clergy men with a story of a minister. "He was as ignorant, this good man. of finan cial matters," said Mr. Morgan, "as the average financier is ignorant of matters ecclesiastical. "He once received a check — the first he had ever got in bis life — and took it to a bank for payment " 'But you must indorse th<^ check,' said the paying teller, returning it through his little window. " 'Indorse it?' said the old minister, in a puz zled tone. "'Yes, of course. It must be indorsed on the back.' "'I see.' said the minister and, turning the ! check over, he wrote across the pack of it: "'I heartily indorse this check." " • EXASPERATING. Beginner (wrathfully) — Look here, I'm tired ! of your laughing at my game, [1 I hear any more impudence from you I'll crack you over I the head. Caddie All right; but I*ll bet yer don't know what's the right club to do it with. — j Pick-Me-Up. I THE PIANOFORTE. Continued from «rroml pace and teacher in Dresden who >:sfied with the harpsichord b< ■ ;ty of his pupils to play on that i:-- ri - ir;> j ; : with the taste and expression which they exhibited when they practised on the cla [chord Fl< w. Nt with a lamentation to the Saxon ■ nurt < ha pel , who advised him t.- get one ol th< Nuremberg; hurdy-gurdy claviers. He did so, and th< fact that it was possible t" sustain th< tone< in a singing manner on the instrument pleased him much. But there was still ■ fly in the oint ment. He was unwilling while making music to work with both his feet "like a linen w< ;>.\tr," as he expressed it. While in this frame t mind he heard the performance of a famous virtuoso on the dulcimer, and from this performann con ceived the idea of constructing an instrument on which, if it should not be able t- sustain the tone like the "Geigenwerk/ 1 should at least make it possible to play forte or inane al wilL He went to work himself ■;.) a joiner's shoii dur ing the resting hours of the workmen, and suc ceeded in constructing two models for .. ham mer mechanism to he applied to the harpsi chord. These, in February. 17J1. he submitted to the Kin? of Saxony, by whom the invention was heartiiy approved, as well as by the court chapel mast'-r. He had no means ti build an instrument or exploit his invention, and t Sough the King- ordered one built it was nev« i done. Soon thereafter Schroter lef( Saxony Many years later, finding that every pianoforte b iiider in Germany \\ . ng •• , Invent!* n of the instrument, he printed ins st< ry, giving all the dates with the rare. He could do this because he had kept a diary all his life, and he even *nentioned the time of day at which he carried his models to the royal paiai c The merit of having sugg I German inven tion of the piai r on the ,iuii imer, and sin c ,\ith a study of principles rather than mechanics it may be profitable to consid< r what it was in the performance of this man which -'ully excited the imagination of a hroter. Th. i layer was Pantaleon Hel ■ nstreit, for many years a chamber musician at tl •- Saxon court Al though an excellent violinist, his favorit* instru ment was the dulcimer, on which he had ac quired great proficiency as a bo: Not content with the simple form of the instrument as he found it, he increased Its siz< ,t v. ith a double system of string | rass and one iof gut— and tuned it in -• ■ . rament, so j that it might be used in all the major and minor j keys, following in this the way pointed out by j the great Bach. He played it in the primitive fashion with a pair of hammers, and hi.s musio excited the Ih-eliest interest wherever he w^nt. He played before Louis XIV in 170. r >, and the prrand monarch honored him by giving the name "Pantaicon" to hi.~ I . Imer. A year later he became lirector of the orchestra an<i n>urt dancing master at Eisenach, and later still chamber musician in Dresden, at an annual salary of L'.'M^i thalers and an allowance of 200 thalers fur strings. It is in Hebenstreit's dulcimer that we are privileged to see the first instrument with some of the expressive capacity of the modern piano forte. The interest created by his performances was not due alone to the effects of piano and forte which he produced by graduating the force of the hammer blows and utilizing the two kinds of strings. Discerning musicians heard in his playing for the first time an effect whose scientific study of late years has done more to perfect the tone of the instrument and to in fluence composers and players than anything 1 cisc in pianoforte construction. Kuhnau, who was Bach's predecessor as choirmaster of the Church of >'t. Thomas, in Leipsic, praised the great beauty of the tone of the pantaleon, the bass notes of which, he said, sounded like those of the organ: bi;t. more significantly, he re corded the fact that on sounding a note its over tones could be heard simultaneously up to the sixth. Helmholtz's determinations as to the in- uut'iiix 01 uruais un vie timrjre or musical in struments have L-^rn of the utmost importance in pianoforte construction. H. K. K. .1 KXEELIXG PROPOSITION. "Pony" Moore, the once famous minstrel. Is dead at the age >' eighty. •[■ was one of the last of his kind. Moore," said a veteran Chicago manager, "used to make up his own jokes. Once when he played here he had his toes run over and limped on that nigh with a foot that resembled a white pillow. ■■ "All's ez tendah- as Liza Johnsing,' ho said to the audience with a chuckle. 'Yo' know bout Liza? Young Calhoun White, he sez to i'T. proposin": Whaffo' yo' make a face like dat when I impose, Miss Johnsing?" ' Well Cal," says Liza. "Ah kain't give yo* >ffa.h propah consideration less'n yo' takes yo* cnee off'n mah con." , " FROM THE SEAT OF THE SCORNFUL. Jack and Joey at the menagerie watched the ion eat sugar from the trainer's hand with qual interest but differing inference. *"Oh!" gasped Joey, round-eyed. "Pooh!" said Jack. "I could do that." "What: You?" ■ourse! Quite as well its that olvi lion."-* Youth. ..uiou- 5