6. Jonas Chickering

On Tremont Street, in the City of Boston, near the Roxbury line, there stands an immense building of brick, said to be larger than any edifice in the United States, save the Capitol at Washington. It is built in the form of a hollow square, with a large court-yard in the center, and the building and court-yard together cover an area of five acres. It is five stories in height on the outer side, and six on the inner, the court-yard being one story lower than the street. The building is two hundred and sixty-two feet in length from east to west, and two hundred and forty-five from north to south, the shorter distance being the length on Tremont Street. The width of the building all around the court-yard is fifty feet. It contains nine hundred windows, with eleven thousand panes of glass, and when lighted up at night seems almost a solid mass of fire. From five to six hundred men are employed here in various capacities, and an immense steam engine of one hundred and twenty horse-power furnishes the motive power for the machinery. Altogether, it is one of the most prominent and interesting of all the sights of Boston, and the visitor is surprised to learn that it is due entirely to the energy and genius of one who, but thirty-four years previous to its erection, came to Boston a penniless stranger. The building is the famous piano-forte manufactory of Chickering & Sons, and its founder was Jonas Chickering, the subject of this sketch.

Jonas Chickering was born at New Ipswich, New Hampshire, on the 5th of April, 1798. His father was a blacksmith by trade, and employed his leisure time in cultivating a small farm of which he was the owner. He was esteemed by his neighbors as an upright, reliable man, and prudent and careful in his temporal affairs. The family being poor, young Jonas was required to do his share toward cultivating the farm, and received only such education as was afforded by the district schools in the vicinity. He was noted at an early age for his passionate love of music. When a mere child, he learned to play on the fife, and was such a proficient performer that he was called upon with the town drummer to furnish music for the militia musters, which were then the pride of the town. These were happy days for the lad, but his pleasure was marred by the ridicule which the contrast between his slender figure and the stalwart frame of the "six-foot drummer" caused the fun-loving towns-people to indulge in. Soon after this he learned to play on the clarionet, and when only seventeen or eighteen years old, was so advanced in his art that he could read at sight music of the most difficult character.

At the age of seventeen he was apprenticed to a cabinet-maker to learn his trade, and remained with him for three years, exerting himself to become thorough master of every detail of the business. Toward the close of his apprenticeship, an event occurred which changed the whole current of his life, and placed him in what proved to him the road to fame and fortune.

One of the wealthiest citizens of New Ipswich was the fortunate owner of a piano, the only instrument of the kind in the place; but his treasure was almost useless to him, for the reason that it was out of tune and seriously damaged in some respects. It had lain in this condition for a long time, no one in or near the place being able to make the necessary repairs. In this extremity the owner bethought him of Jonas Chickering, who had acquired an enviable reputation for skill in his trade, and it was thought that a good cabinet-maker ought of necessity to be a clever piano-maker. Young Chickering, thus appealed to, consented to undertake the task, as much for the purpose of becoming familiar with the instrument as of earning the sum the owner of it proposed to pay for the repairs. He had not the slightest knowledge of its internal organization, but he believed that by patient investigation he could master it, and he knew that the correctness of his ear would enable him to tune it. He made a careful study of the instrument and of every separate part, spent days over the task, discovered the injury and the cause of it, and not only took the instrument to pieces and restored it to its former condition, but did his work so well that the piano was pronounced fully as good in every respect as when it was new. This was not all. He discovered defects in the instrument which even its maker was not able to remedy, and his fertile brain at once suggested to him a plan for removing them.

Here was a chance for him, and he resolved to profit by it. He would abandon cabinet-making and learn the manufacture of pianos. Then, when master of his trade, he would make use of his discoveries, and earn both fame and fortune. When his determination to change his business was made known, his friends attributed it to his desire to be in the midst of musical instruments, and where he could gratify his love of music; but this was only a part of the motive which influenced him. He meant to rise in the world, and he was sure that he held in his hands the means of doing so.

In 1818, when twenty years old, he removed to Boston, and obtained employment with a cabinet-maker. He did this in order to give him time to look about him, to become familiar with the city and city life, and to acquire such other information as would enable him to decide upon the best means of putting his plans into execution. He saved his wages with the greatest care, and at the end of his first year in Boston had accumulated a modest little sum, which he meant should support him while he was learning his new trade.

On the 15th of February, 1819, without the loss of a day, he began work with a piano-maker.

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