The short cottage upright or pianino with vertical stringing, credited to Robert Wornum about 1810 was built into the 20th century. They are informally called birdcage pianos because of their prominent damper mechanism. Pianinos were distinguished from the oblique, or diagonally strung upright made popular in France by Roller & Blanchet during the late 1820s.
The tiny spinet upright was manufactured from the mid 1930s until recent times. It saved space by using a "drop action" arranged below the level of the keys.
The plate, or metal frame, of a piano is usually made of cast iron. It is advantageous for the plate to be quite massive. Since the strings are attached to the plate at one end, any vibrations transmitted to the plate will result in loss of energy to the desired (efficient) channel of sound transmission, namely the bridge and the soundboard. Some manufacturers now use cast steel in their plates, for greater strength. The casting of the plate is a delicate art, since the dimensions are crucial and the iron shrinks by about one percent during cooling. The inclusion in a piano of an extremely large piece of metal is potentially an aesthetic handicap. Piano makers overcome this handicap by polishing, painting, and decorating the plate; often plates include the manufacturer's ornamental medallion and can be strikingly attractive. In an effort to make pianos lighter, Alcoa worked with Winter and Company piano manufactuers to make pianos using an aluminum plate during the 1940s. The use of aluminum for piano plates, however, did not become widely accepted and was discontinued.
The soft pedal was invented by Cristofori and thus appeared on the very earliest pianos. In the 18th and early 19th centuries, the soft pedal was more effective than today, since pianos were manufactured with only two strings per note, just one string per note would be therefore struck — this is the origin of the name "una corda", Italian for "one string". In modern pianos, there are three strings per hammer and are spaced too closely to permit a true "una corda" effect — if shifted far enough to strike just one string on one note, the hammers would hit the string of the next note.
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