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.

He had now entered upon what he meant should be the business of his life, and he was resolved that he would be master of it.  From the first he took rank in his employer’s factory as the most careful workman in it.  He spared no pains to make his knowledge full in every detail.  Time was of no consequence compared with knowledge, and he was never anxious to hurry through with his work.  It soon came to be recognized by his employer and fellow-workmen that he was the best fitted for those portions of the work upon the instrument which required the greatest patience as well as the greatest care, and the most difficult and delicate work was always intrusted to him, his wages being, of course, in proportion.  Other men had no thought but to earn a living.  This man meant to win fame and fortune, and to enlarge the scope of that art to which he was so passionately devoted.  He labored with his mind as well as his hands, familiarizing himself with every detail of the manufacture, and devising in silence the means for improving the instrument and the implements used in its construction.  He could afford to wait, to be slower than his fellows.  Every moment spent over his task made his workmanship the better, and opened to his mind new sources of improvement.  He spent three years as a journeyman, and then went into business for himself.  He associated himself with a Mr. Stewart, under the firm of Stewart & Chickering.

Fifty years ago the piano-forte was a wretched piece of mechanism compared with the superb instrument of to-day.  It was originally a progressive growth from the ancient lyre, through the harp, psaltery, dulcimer, clavictherium, clavichord, virginal, spinet, harpsichord, to the piano of Christofali in the early years of the last century.  At the period of Mr. Chickering’s entrance into business, it was still very imperfect, and the various manufacturers of the instrument were earnestly endeavoring to discover some means of remedying the defects of which they were all conscious.  There are four divisions in the manufacture of a piano, each of which requires great skill and care.  These are:  First, The making of the framing and the sound-board; Second, The stringing; Third, The keys and action; Fourth, The case and ornamental work.  The framing requires strength and simplicity.  It is this portion of