It will be obvious, at the outset, to everyone that Keyboard Technique has developed in accordance with the instruments which were available to the performers. I do not propose to enter into a detailed survey of the instruments: most of them are probably known to my hearers, and I need only mention those that may have anything to do with this particular subject of technique. In examining what writings there are, however, it will generally be found that the writers were almost unanimous in their desire to make technique a means to a musical end, rather than a mere mechanical display. I will point this out in the course of this paper. The only instruments I need mention are the clavichord, clavecin; harpsichord and hammerklavier, the modern piano coming under this last category (hammerklavier).