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On the basis of the adapted drawing, the core planks and cross pieces were
cut, with the Stockholm instrument serving as a model for the dimensions
and design. Matching the new connecting brace between the lyre and case
bottom to the existing gluemarks revealed that the brace was not positioned
exactly symmetrically to the middle axis of the instrument. In order to avoid
the brace sitting crookedly on the lyre, whereby the pedal wires would not
run parallel to the lyre ‘strings’, this was shifted slightly off of the middle
axis and the pedals had to be secured slightly asymmetrically.
The veneering of the pedal bar likewise occurred using the detached veneer
with its aged surface including traces of use. The reconstruction of all missing
pieces was done following the Stockholm model, the feet and all of the
brass decorations were oriented on the Streicher piano in the Vienna
Museum of Technology. Moulding and casting of the brass appliqués was
done by the metal restorer Martin Klobassa.

3.3 RESTORATION OF THE SOUNDBOARD

The soundboard displayed multiple shrinkage cracks, loose ribs, deformations,
and a typical compression crack along the long wall, which was caused by
excessive tension and the detached bass hitchpin rail (fig. 8).
To allow the lasting repair of the damage, the soundboard was removed
from the instrument, which thanks to the thinness of the glue layer was
achieved within an hour aided by some ethanol and warmth.

Fig. 8: Damage to the soundboard.
a. Compression crack on the long wall.
b. Detached ribs.
c. Shrinkage cracks in the treble.

Fig. 9: Restoration of the soundboard,
securing cracks with pieces of parchment.

Ina Hoheisel and Alfons Huber

a c b