Alpheus Babcock

Biography

Alpheus Babcock, working in Boston, is credited by Dolge with producing in 1825 the first full iron frame for square pianos, following on the heels of Robert Stodart's earlier iron-tube bracing work. This placed Babcock among the pioneers of the movement toward all-metal internal support in piano construction, a development driven by the need to withstand ever-increasing string tension as actions and hammers grew heavier. Dolge presents Babcock's achievement as a direct forerunner to the more famous full iron frame that Jonas Chickering patented in 1843 for flat-scale grand pianos, and to the subsequent adoption of full iron frames by the so-called Boston school of makers for grand, square, and upright instruments alike. No further biographical particulars are supplied in this passage. Alpheus Babcock trained under Benjamin Crehore in the Boston school of piano making, founded about 1792, alongside fellow pupil John Osborn. In 1825 Babcock invented the full iron frame for pianos, an innovation Dolge describes as just as important a development as Broadwood's earlier relocation of the wrest plank. Babcock's iron frame is presented as clearing the way for further structural development of the piano; Jonas Chickering subsequently improved on Babcock's frame so materially, in 1837, that Chickering was granted a patent for it in 1840. An illustration of Babcock's full iron frame, shown in exploded diagram form, accompanies the text. Alpheus Babcock, along with his brother Lewis, was a pupil of Benjamin Crehore in Boston. In 1810 the Babcock brothers began making pianos in Boston, but the great panic of 1819 ruined their business. Alpheus resurfaces in the record in 1821, now in partnership with John MacKay, described as 'that commercial genius who later assisted so strongly in building up the fame of the Chickering firm.' MacKay eventually left Babcock to join Jonas Chickering as a business partner. No dates of birth or death are given for Alpheus Babcock, nor is further detail on his career after 1821 provided in this text. Alpheus Babcock, of Boston, is credited by Dolge with taking out a patent in 1833 on a hammer covered with felt. This followed the introduction of the iron piano frame, which permitted heavier stringing and made the traditional leather-covered hammer insufficient. Babcock's felt hammer represents an early step in this transition, followed shortly afterward by P. F. Fischer's English patent and, Dolge argues, by Henri Pape's parallel work in Paris, on the way to the fully developed felt hammer construction used in modern pianos. From Spillane (1890): Alpheus Babcock, working in Boston, patented a cast-iron frame with hitch-pin section made in a single casting on December 17, 1825 -- the foundational patent, per the author, for every later American attempt at plate-casting, including Conrad Meyer's celebrated 1832-33 plate. He patented a further version incorporating an iron ring on May 24, 1830. Babcock's instrument was exhibited and praised at the Franklin Institute's fourth annual exhibition in October 1827, where a horizontal piano of his was noted for its solid cast-iron frame, strong enough to resist the strings' tension, and its fine finish inside and out. The British authority A. J. Hipkins credited Babcock with anticipating Allen's later one-casting frame patent, and Steinway & Sons' historical account likewise credited him with first practically introducing the cast hitch-pin plate. Spillane argues, contrary to widespread European belief crediting Meyer, that Babcock's plate -- not intended for compensation and applied practically, not merely recorded -- was the genuine precursor of the modern solid iron plate, and that Meyer's later plate was "practically similar with Babcock's in every way." Alpheus Babcock was a Boston piano maker who, with John Mackay, carried on business at 7 Parkman's Market until about 1829. That December he relocated to Philadelphia, where he partnered with J. Klem, a German who had long served as Philadelphia agent for Babcock pianos. While in Boston, Babcock built instruments for both John Mackay and his brother G. Mackay, though all bore the maker's seal 'A. Babcock, Boston.' One such instrument, later held by Mason & Hamlin, had been used by composer Dr. Babcock's related iron-plate innovation is discussed elsewhere in connection with Conrad Meyer of Philadelphia. His pianos ranked highly from as early as 1822: he won the silver medal for best horizontal piano at the Franklin Institute's first Mechanic Arts Exhibition in 1824 (over entries including those of Mickley and Loud & Brothers of Philadelphia and William Geib of New York), and won again at the 1825 exhibition, edging out a strong entry from Loud & Brothers. Alpheus Babcock was among the Babcock brothers who began making pianofortes in a small Newbury Street workshop in Boston in 1810. In 1813 Thomas Appleton joined the brothers in partnership, and in 1815 the firm expanded further as Hoyts, Babcock & Appleton, combining organ and piano manufacture with the Hoyts brothers' import business, until the commercial panic of 1819 broke up the partnership. Babcock appears independently in the Boston city directory for 1821 at 11 Marlborough Street, and in 1822 moved to Parkman's Market on Cambridge Street, where he went into business with John Mackay, whose name Spillane notes recurs elsewhere in connection with Jonas Chickering. It was around this period that Babcock originated his famous cast-metal plate for square pianos, an innovation Spillane suggests was anticipated in part by John Dwight's earlier longitudinal metal-bar design, which may have furnished Babcock with the idea. Alpheus Babcock, of Boston, patented a metal piano plate cast in one piece on December 17, 1825, an invention Spillane identifies as preceding and likely influencing William Allen's similar 1832 English patent. Spillane credits Babcock, together with Jonas Chickering, with the first successful and permanent introduction of metal plates into American squares and grands, calling it a foundational development in the nationalization of the American pianoforte. Spillane notes that A. Hipkins, while consistently acknowledging Babcock's role in introducing the one-piece metal plate, was mistaken about the real nature and extent of Babcock's patent. Alpheus Babcock is credited by Spillane, together with Jonas Chickering, with originating the Boston practice of casting piano plates in solid iron. This innovation was copied, with various modifications, by other Boston manufacturers and stood in contrast to the reluctance of New York and Philadelphia makers of the period to adopt full iron framing. Spillane places Babcock among the figures most closely identified with the introduction of iron construction into American pianoforte-making. Alpheus Babcock is cited by Spillane as an early figure in the use of felt for piano hammers. While in Philadelphia in 1833, he took out a patent anticipating the general adoption of felt as a substitute for leather in hammer covering, cited as further evidence against the common belief that felt was not considered for this purpose until 1840. Alpheus Babcock, along with his brother Lewis, trained in Benjamin Crehore's piano workshop in Milton, near Boston. He was taught tuning by Peter A. von Hagen and, after 1805, made tuning a specialty. Spillane names him among the notable early figures to emerge from Crehore's workshop. Alpheus Babcock, of Boston, was granted a United States patent in 1833 for introducing felt as a hammer-covering material in pianos. Spillane notes that Babcock unquestionably preceded Jean Henri Pape in this innovation, though the patent went unavailed of for many years afterward. Alpheus Babcock, of Boston, was awarded the premium for the best square piano at the 1825 exhibition of the Philadelphia Franklin Institute, outclassing Loud Brothers in that category, though Loud Brothers won the premium for best upright piano at the same exhibition.

Highlights

• Invented the full iron piano frame in 1825.
• Dolge ranks this invention as equally important as Broadwood's relocation of the wrest plank.
• Trained as one of Benjamin Crehore's most talented pupils in the Boston school of piano making.
• Built the first full iron frame for square pianos, Boston, 1825
• Patented a felt-covered piano hammer in Boston in 1833, prompted by the heavier stringing made possible by the iron frame
• With his brother Lewis, began making pianos in Boston in 1810; the business was ruined by the panic of 1819
• In 1821 partnered with John MacKay, who later became Jonas Chickering's business partner
• Pupil of Benjamin Crehore
• Of Boston; granted a United States patent in 1833 for introducing felt as a hammer-covering material in pianos, preceding Jean Henri Pape's use of felt in Europe.
• Patented a one-piece cast metal piano plate on December 17, 1825, in the United States, predating comparable European developments.
• Credited, along with Jonas Chickering, with the first successful and permanent introduction of metal plates into American squares and grands.
• Trained in Benjamin Crehore's Milton workshop alongside his brother Lewis.
• Taught tuning by Peter A. von Hagen, and made tuning his specialty after 1805.
• One of Crehore's cleverest apprentices; originated the famous cast-metal plate for square pianos.
• Went into business with John Mackay at Parkman's Market, Cambridge Street, Boston, from 1822.
• Co-founder of the Babcock Brothers workshop that grew into Appleton & Babcock Brothers and later Hoyts, Babcock & Appleton.
• Partnered with John Mackay in Boston at 7 Parkman's Market until about 1829, then moved to Philadelphia and joined J. G. Klem
• Won the silver medal for best horizontal piano at the Franklin Institute's exhibitions in 1824 and 1825
• A Babcock-made piano was used by composer Dr. Lowell Mason and later held by Mason & Hamlin
• Of Boston; awarded the premium for the best square piano at the 1825 Franklin Institute exhibition, outclassing Loud Brothers in that category.
• Patented a cast-iron frame in one casting for square pianos on December 17, 1825, while working in Boston
• Patented a further iron-ring version of the frame on May 24, 1830
• Regarded by the author as the true originator of the modern solid cast-iron piano plate, predating both Allen's 1831 British patent and Conrad Meyer's 1832-33 claims
• Exhibited a solid cast-iron-framed horizontal piano at the Franklin Institute's 1827 exhibition, praised for withstanding the strings' tension and for its fine finish
• Credited, with Jonas Chickering, with originating the Boston practice of casting piano plates in solid iron.
• While in Philadelphia in 1833, took out a patent anticipating the general use of felt as a substitute for leather hammer covering

Sources

Alfred Dolge, Pianos and Their Makers, Vol. I (1911), pp. 69, 97, 98, 270.

Daniel Spillane, History of the American Pianoforte (1890), pp. 27, 42, 43, 46, 54, 55, 56, 85, 86, 113, 120, 121, 122, 165, 328.

Public domain.