The various sizes of upright pianofortes that are customarily found range from nearly five feet in height down to about ten inches less. Some very small models are made no more than four feet high. But the public appears to prefer the larger styles, and in this they are entirely right. For the very small pianofortes, no matter how cunningly they be scaled, cannot be equipped with strings of the proper lengths, nor with sound-boards of sufficient area. Hence their tonal possibilities are very limited. The full sized upright, on the other hand, approaches closely to the tonal excellence of the grand.
The styles of case decoration that are and have been applied to the upright are even more striking and varied than those of the grand. For the upright lends itself more readily to that kind of decorative treatment that considers the whole case as one single entity, and thus harmoniousness of design and unity of treatment are more easily obtained. At the same time, we are bound to confess that the outline of the upright is essentially box-like, and that this defect operates continually to nullify the efforts of the designer to conceal it. It is a fact that over-elaboration of decorative treatment is usually accompanied by most unfortunate effects; while the larger styles at least are little adapted to sustain the burden of meretricious exterior adornment. In fact, we may well say that the upright is decoratively at its best in the small sizes. Since, however, there is a public demand for large models, which are indeed mechanically and acoustically superior, we must be content to observe the progress of decorative ideas as applied to the beautifying of these.
One of the most striking features of the modern decorative movement, as applied to furniture, is seen in the great popularity of rare and beautiful woods. These are much prized, and it has come to be popular to finish them in such a manner as plainly to exhibit the natural figurings and markings. We have even seen a craze for plain rubbing with wax, which leaves the wood in absolutely its natural appearance. Red and White Mahogany, Burled and Circassian Walnut, Satin Wood, Bird’s-Eye Maple, Golden and Flemish Oak, and many other beautiful and costly varieties are constantly made up into rich and elaborate pieces of furniture. In this development the upright has had a large part. While the large size and great first cost of the grand has made the purchasing of specially decorated cases a matter to be avoided by all except the wealthy, the same obstacle has not so largely existed to frighten away the artistic would-be-purchaser of an upright. In fact, the decorative movement has shown its best manifestations through the medium of the upright pianoforte, and this in spite of the unfortunate outline of the instrument that resists all efforts to conceal its excessive crudity.