the "una corda". (In Cristofori's original design and in the Viennese pianos of the 18th Century, the una corda was operated by a knee lever since many pianos, like harpsichords, were not supplied with a dedicated stand and might be mounted on a convenient chest or cupboard). The right hand pedal operated a mechanism that lifted all the dampers away from the strings, Americus's own original idea that was not copied by the Viennese piano makers until much later. So, in summary, the Backers piano in harpsichord case was the first of what has come to be known as the 18th Century English grand piano. We do not have an exact date for the very first instrument to be offered for sale. Its earliest appearance in public was in 1770 according to John Paul Williams' The Piano, An Inspirational Guide to the Piano and its Place In History. Following hot on the heels of the Backers instruments came offerings from John Broadwood, succeeding his master, and from Robert Stodart striking out in business on his own. It is quite clear that these and subsequent models by Clementi and other entrants into English piano building are derived directly from Americus's original. Hence the English Grand Pianoforte tradition comes about as a direct result of the prototype Americus Backers. Extant instruments Harpsichord 1766 Two manual harpsichord in the English style, fully restored to near-original condition (repairs to internal bracing and soundboard) by Laurie Leigh Antiques. Straight tapering piano-style legs were added in 1830. Photographs of this instrument are located at. David Leigh has made a recording on CD of two Bach works played on this instrument, in the album Harpsichords: Historic, Rare and Unique Volume 2 – Tenducci's Harpsichord. Pianoforte in harpsichord case 1772 serial number 21 The Russell Collection, St. Cecilia's Hall (University of Edinburgh) There is a photograph of a copy built by Michael Cole in 1960 now in the Cantos Collection at The instrument shows no evidence of alteration (it was quite common for piano buyers to have their instruments altered, for example to extend their compass with extra notes) The mahogany case with boxwood cross-banding encloses a wooden frame and soundboard with paper rose. Trichord throughout (there are three strings to each note) Compass is five octaves (FF-f3). Two pedals – una corda and damper lift. There is a three-legged trestle stand with pedal mechanism for lifting the