Mr. Steinert not only searched for these treasures all over Europe, but he had them restored and played upon them, thus giving to the world the long-forgotten sounds and showing, by the only method possible, just how the great masters played. During the World's Fair the Steinert collection was in the Manufacturers' Building, the center of attraction for music lovers. His experiences were most interesting in obtaining some of the rarest specimens. For instance, a harpsichord with the date 1710 on its case was found broken and dust-covered in an attic in Vienna. It had two keyboards, tortoise-shell naturals and ivory sharps. It had eight stops, one imitating the lute and one the flute. The sounding board was elaborately painted with flowers and other decorative symbols, while the inside lid was ornate with strictly Japanese art.
The dearly loved "Nanette Stein" piano, Beethoven's much prized possession, is in Mr. Steinert's collection. America is the home of many priceless pianos. In this same group we find an instrument once belonging to Napoleon Bonaparte. To be correct, it is a harpsichord, and it was given to a French sergeant when the fallen monarch was banished to St. Helena. The Frenchman came to America and gave the harpsichord to Simon Bates, of Scituate Harbor Light, Mass., from whose heirs Mr. Steinert purchased it. Claviers, dulcimers, spinets, and harpsichords, belonging once upon a time to Bach, Haydn, and Mozart, are in this famous collection.
Besides the instruments of bygone days, Mr. Steinert has been able to get original manuscripts, worth their weight in gold. It is a fascinating character study to examine the scores of the old masters and note the difference in style and method. For many years this man made arduous tours with his instruments, giving lectures and illustrating them with actual performance of the music on the instrument for which it was composed. His only compensation was that he felt he was furthering the true spirit of art and music in this the country of his adoption. In his personal reminiscences published some years ago he says:
[Illustration: Piano made by Benjamin Crehore, Boston Cir. 1800]
"How dealers in pianos of this day must envy the manufacturers of the good old times when they remember that then the would-be purchaser had to look up the maker and court his pleasure. He had to sign a written contract, the terms of which sound droll enough to us. The time limit for construction was from six to twelve months and the payments were, generally, so much cash, so many casks of wine, a certain amount of corn, wheat, and potatoes, while geese, chickens, and turkeys constituted some of the articles used in payment. Even a few cords of wood would be acceptable in making up the balance. When the piano was completed, ready for delivery at the home of the impatient purchaser, a general festival took place. The maker was the hero of the hour. He was accompanied by his craftsmen, and apprentices if he had any, and they followed the gaily decorated wagon and horses which bore the precious burden to its new home. A band of music headed the procession and the maker was borne aloft on the shoulders of his assistants. Musicians, organists, school masters, and other dignitaries marched in the rear. At the place of destination the procession was received with joyous shouts of welcome. The minister said a prayer and blessed the instrument and its maker. Then the mayor or burgomaster delivered an address, dwelling at length upon the importance of the event to the whole community, stating that the coming of the new musical instrument would raise the standing of the place in the eyes of the surrounding countryside. Speeches followed by the school master, doctor, druggist, and other officials. The mannechor of the village rendered songs, and amid the strains from the band the piano was moved into place. A banquet and dance closed the happy occasion."